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THE  METROPOLITAN  MUSEUM  OF 


ART. 


I. 


h 

(H' 


$ 


Main  Hall. 


THERE  are  few  pretensions  to  art,  as  far  as  the  outside  goes, 
in  the  construction  of  the  building  which  contains  the  col- 
lection of  the  Metropolitan  Museum.  Square  in  form,  it  is  not, 
however,  wanting  in  symmetry.  What  it  has  is  a certain  aspect 


of  massiveness,  due  to  the  brick  and  the  heavy  stone  cap- 
pings, which  convey  somewhat  the  impression  of  a safe-deposit 
building. 

If  the  outside  of  the  Museum  presents  no  attra  ctive  features, 
when  the  building  is  entered  the  impression  received  is  of  the 
most  pleasant  character.  The  floors  are  of  tesselated  stone, 
the  four  staircases  are  wide,  the  ascent  is  not  too  rapid,  and 
the  ventilation  and  light  are  admirable.  The  decoration  is 
grave  and  sober,  but  not  in  the  least  depressing.  Certain  tones 
have  been  adopted  of  a maroon  colour,  with  a light  contrasting 
blue,  and  occasional  whites,  which  are  pleasantly  harmonious.  The 
ornamentation  of  an  architectural  character,  imposed  on  pillars  or 


Mi'Ll 


4 


TIIE  METROPOLITAN  MUSEUM  OF  ART. 


cornices,  has  no  obtrusiveness  about  it.  The  frame,  in  fact,  for 
the  picture  has  been  decorously  imagined,  and  is  in  the  highest 
degree  creditable  to  the  taste  and  judgment  of  the  architect.  The 
roof  in  the  main  hall  rises  in  a graceful  curve,  held  up  by  sweeping 
girders,  the  iron-work  painted  of  an  approved  colour.  In  ascend- 
ing the  stairs,  some  two  stories,  to  reach  the  picture-galleries  above 
the  main  hall,  a most  charming  effect  is  produced  by  circular  open- 
ings, which,  without  glass  in  them,  allow  the  opportunity  of  seeing 
perfectly  into  the  various  rooms.  A critical  look  at  the  interior  of 
the  building  justifies  much  satisfaction  on  the  whole.  Its  floor 
and  galleries  are  conveniently  arranged,  with  no  meretricious  gew- 
gaws, and  answer  fairly  well  all  the  purposes  required.  In  the 
basement  there  are  convenient  quarters  for  the  various  officers  of 
the  building,  with  good  and  light  rooms  for  the  packing  and  re- 
packing of  the  artistic  objects.  Here,  too,  is  a fine  large  hall, 


though  perhaps  a little  dark,  to  be  devoted  to  supplementary  exhi- 
bitions, or  for  an  art-school. 

In  the  west  entrance-hall  on  the  main  floor,  which  fronts  the 
park,  are  the  modern  statues.  In  the  central  hall  are  the  loan  col- 
lections, in  numerous  cases,  which  perhaps  break  up  some  little 
the  general  effect.  Here  are  the  laces  and  embroideries.  At  the 
east  end  are  the  Greek  and  Etruscan  vases  and  the  Marquand  col- 
lection of  ancient  Greek  and  Roman  glass.  Right  and  left  are  nu- 
merous show-cases,  containing  the  innumerable  loans  made  to  the 
Museum,  such  as  Japanese  and  Chinese  ivories,  Egyptian  antiqui- 
ties, rare  tomes,  old  books  in  their  superb  bindings,  Limoges 
enamels,  antique  arms,  with  Dresden,  Sevres,  and  majolica;  Ori- 
ental and  Japanese  stuffs,  silver  repoussie,  Venetian  glass,  minia- 
tures, and  an  endless  variety  of  artistic  objects.  In  the  north  and 
south  aisles  of  the  east  hall  are  the  Cyprian  antiquities,  the  vases, 


Group  I. 


terra-cottas,  bronzes,  busts,  and  statues,  of  the  Cesnola  collection. 
In  this  hall  these  Cypriote  objects  occupy  quite  three  sides  of  the 
room,  besides  being  placed  in  many  additional  cases.  The  most 
careful  attention  has  been  paid  to  their  classification,  which  must 
be  of  the  greatest  advantage  to  those  desirous  of  studying  them. 
The  two  sarcophagi,  which  are  the  capital  pieces  of  the  Cesnola 
collection,  are  at  the  back  of  the  hall.  In  such  a large  hall  this 
collection,  especially  as  to  the  statues  and  busts,  is  wonderfully 
improved,  and  the  advantage  of  a better  locality  is  at  once  appre- 
ciable. Strung  along  in  the  former  museum  in  Fourteenth  Street, 
if  they  looked  like  milestones,  in  the  new  building,  with  the  good 
judgment  displayed  in  their  arrangement,  they  present  a most  im- 
pressive appearance.  On  the  left-hand  side,  facing  the  entrance, 
has  been  carefully  placed  the  immense  Cesnola  collection  of  pot- 
tery. Mounting  to  the  next  floor  is  an  easy  task,  as  the  steps  are 
not  too  rapid.  Looking  through  the  gigantic  ceils-de-bceuf  before 
mentioned,  which  gives  breathing-time,  the  visitor  then  arrives  at 
the  upper  halls.  Here  are  the  pictures  in  two  halls,  the  east  and 


west  ones.  Proceeding  along  the  gallery  taken  up  by  the  Avery 
collection  of  porcelain,  the  east  picture-gallery  is  reached.  Con- 
tinuing the  circuit,  the  south  gallery  may  now  be  traversed,  which 
leads  to  the  west  hall.  This  south  gallery  contains  the  most  pre- 
cious of  General  di  Cesnola’s  discoveries,  the  Curium  treasures, 
with  the  iridescent  glass.  Here,  too,  are  objects  in  bronze,  gold, 
silver  and  glass,  a collection  of  watches,  and  bibelots  innumerable. 
As  to  the  pictures,  the  east  galleries  contain  the  examples  of  the 
Flemish  and  Dutch  schools,  the  property  of  the  Museum.  In  the 
west  hall  are  the  pictures  loaned  to  the  Museum. 

The  engraving  on  the  first  page  of  this  chapter,  giving  a view 
of  the  main  hall,  is  taken  from  the  left  side,  toward  Eighty-second 
Street  and  Fifth  Avenue,  but  is  by  no  means  at  the  end  of  the 
room.  It  has  been  purposely  chosen,  as  presenting  a glimpse,  as 
it  were,  of  the  general  fine  effect  of  the  hall.  The  statue  on  the 
extreme  left  represents  a female  figure  of  rather  an  archaic  type. 
The  statue  to  her  right,  seen  somewhat  in  profile,  is  an  antique 
copy  after  a Greek  statue,  and  ranks  among  the  best  in  the  Cesnola 


THE  METROPOLITAN  MUSEUM  OF  ART. 


D 


collection.  On  the  left-hand  side,  following  along,  are  placed  the 
Cyprian  vases,  urns.  On  the  right,  the  busts,  statues  of  the  same 
collection ; and  back,  other  objects  derived  from  Cyprus,  as  the 
bas-reliefs,  the  inscriptions,  with  the  sarcophagi. 

The  Cypriote  collection,  which  occupies  the  major  portion  of 
the  main  hall,  will  form  in  this  first  chapter  the  subject  of  our  illus- 
trations. The  objects  collected  in  Cyprus  are  innumerable,  and, 
putting  aside  for  the  present  the  Curium  treasures,  may  be  divided 
into  the  pottery,  and  the  busts  and  statues.  Group  I.  shows  some 
of  the  earliest  forms  of  potter)-.  They  are  crude  masses  of  clay 


badly  fired,  perhaps  representative  of  some  tutelar)'  deity.  The 
whole  lower  line  of  figures  in  the  illustration  are  of  this  type. 
They  are  hardly  even  archaic.  The  fourth  figure  has  the  sem- 
blance of  a head,  with  four  ear-rings.  A discussion  as  to  her 
being  a Venus  would  be  out  of  place  here.  The  fifth  and  sixth 
figures  undoubtedly  are  those  curious  symbols  of  a double  sex,  a 
bearded  woman.  The  large  head,  with  its  peculiar  cap,  has  bars 
of  colour  on  it,  and  is  almost  life-size.  It  undoubtedly  belongs  to 
a period  many  years  after  the  time  when  the  cruder  small  figures 
were  made.  The  semblance  of  a horse  with  a figure  on  it  is 


Group  II. 


certainly  of  a most  ancient  period.  This  has  many  repetitions  in 
the  collection.  It  is  not,  as  might  be  supposed,  a child’s  toy. 
Such  figures,  when  found  in  a tomb,  have  never  been  discovered 
in  conjunction  with  the  remains  of  children.  It  was,  undoubtedly, 
the  intention  of  those  who  buried  a man  to  give  him,  with  this 
little  clay  horse,  the  semblance  of  something  which,  when  he 
awakened,  he  might  use  to  ride  about  on  in  some  other  state. 
The  small  chair  with  a figure  seated  in  it  is  painted  in  yellow  and 
brown,  and  is  perhaps  contemporaneous  with  the  coarse  figures  be- 
low, with  the  exception  of  the  head,  and  of  the  two  bearded  fig- 
ures ; they  represent  the  very  infancy  of  art,  and  are  only  curious. 


In  Group  II.  a great  stride  is  visible.  The  left-hand  vessel, 
in  red  clay,  with  handle,  has  a double  mouth-piece.  The  ma- 
terial is  fairly  smooth.  The  ornamentation,  four  small  rosettes,  is 
well  applied.  An  idea  of  form  has  necessitated  greater  skill  in  the 
making  of  the  piece.  The  long,  slender  vase,  recalling  precisely 
that  shape  which  y-Esop  introduces  into  his  fable  of  the  stork  and 
the  wolf,  is  fairly  graceful,  and  shows  remains  of  polish.  The 
large  vessel  behind  it  is  not  wanting  in  a certain  grace  of  form. 
It  is  of  red  clay,  and  its  ornamentation  must  have  been  made  by 
rolling  a strip  of  the  red  earth,  then  giving  it  the  pressure  of  the 
thumb  and  finger  all  along  its  length,  and  next  applying  it  to 


6 


THE  METROPOLITAN  MUSEUM  OF  ART. 


Group  III. 


the  surface.  Next  to  it,  a kind  of  sack-like  form,  is  No.  155  of 
the  collection.  This  conventional  form  is  constantly  met  with 
among  primitive  people.  It  imitated  the  leather  sacks  made  of  the 
skin  of  an  animal,  in  which  wine  or  fluids  were  carried.  The  two 
knobs  on  it  were  conventional,  singularly  enough  types  of  orna- 
mental persistence.  In  the  animal,  when  it  was  flayed,  the  dugs 
might  have  existed,  and  these  were  retained  in  the  coarse  pottery. 
The  large  vase,  on  which  the  one  just  described  leans,  resem- 
bles in  form  the  one  on  the  left,  save  that  it  has  a different  neck. 
The  two  circular  forms  on  the  side 
are  not  open  but  closed.  It  has 
been  suggested  that,  with  their  cup- 
like form,  as  they  might  hold  fluid, 
they  would  represent  to  a possible 
purchaser  a sample  of  the  contents. 

The  small  flat  piece  on  the  right  at 
the  bottom  is  the  very  earliest  form 
of  lamp.  It  is  simply  a small  sau- 
cer with  one  side  pinched  in,  in 
which  the  wick  could  be  placed. 

The  two  forms  above  in  the  illus- 
tration are  of  light  clay  with  black 
and  brown  lines,  and  show  an  ad- 
vancing method  of  manufacture. 

In  Group  III.  the  central  vase  is 
curious.  It  is  about  twenty  inches 
high,  of  a whitish-yellow  inclined 
to  an  umber,  with  a poor  glaze. 

On  it  is  painted  a chariot  with  a 
pair  of  horses.  It  is  in  the  very  in- 
fancy of  art,  recalling  the  poorest 
attempts  of  our  own  Indian  work. 

It  requires  some  particular  atten- 
tion to  discover  whether  there  are 
two  horses  or  only  one.  The  col- 
ours used  are  mostly  black  for  the 
decoration.  To  the  left  is  a well- 
shaped vessel  of  a whitish-yellow, 
of  about  a capacity  of  four  gal- 
lons. It  has  no  art-pretensions. 

The  right-hand  vase  is  better.  It 
shows  human  skill.  Its  form,  with 


so  small  a base,  precludes  the  idea  that  it  was  in  common  use. 
This  vase  shows  a smooth  polish,  and  the  decoration,  in  black, 
inclining  to  a red,  is  evenly  applied.  The  central  portion,  on 
which  the  handles  rest,  has  no  opening ; it  is  the  one  on  the  side 
through  which  the  fluid  was  poured.  Many  years,  perhaps  cen- 
turies, must  have  elapsed  between  the  time  when  this  object  was 
fashioned  and  the  last  of  the  illustrations,  which  represents  a pot 
of  a most  primitive  form  and  material.  The  material  is  of  a whit- 
ish clay,  which  seems  rather  to  have  been  sun-dried  than  baked, 

though  it  has  undergone  some  slight 
firing.  It  is  exceedingly  thin,  and 
apparently  would  scarcely  resist  the 
least  shock.  The  colour  has  been 
applied  here  and  there  by  hand, 
but  not,  as  many  of  the  others, 
when  on  the  potter’s  wheel.  This 
decoration  is  black.  On  the  rim 
are  certain  little  transverse  lines, 
and  portions  of  the  uneven  circles 
which  sweep  around  it  are  made 
up  of  hatchings.  The  small  bottle 
on  the  side  is  of  a black  ware  with 
a polish,  and  the  ornamentation  is 
scratched.  On  the  neck  is  a slight 
protrusion,  pierced  with  a hole,  by 
which  it  was  slung.  This  shows 
better  material,  higher  polish,  great- 
er neatness,  and,  consequently,  a 
notable  advance.  To  the  right  is 
a small  lamp,  but  slightly  differing 
from  the  simplest  form  in  Group 
II.,  by  having  a lip  turned  in  to 
prevent  the  contents  of  the  lamp 
from  being  spilled,  and  as  a prop 
for  the  wick. 

These  figures,  which  are  very 
faithfully  drawn,  represent  certain 
types  in  the  collection  which  are 
brought  in  this  first  chapter  into 
evidence  as  illustrative  of  a very 
early  period  in  the  ceramic  art  of 
the  world. 


II 


l 


ONSIDERA- 
TIONS,  apart 
from  those  of 
a purely  art- 
istic character 
induced  Mr.  Cal- 
vert Vaux,  the  ar- 
chitect of  the  Me- 
tropolitan Muse- 
um, to  place  on 
each  landing  of 
the  stairs  leading 
to  the  picture- 
galleries,  large,  open,  circular  windows.  As  the  visitor  mounts  the 
stairways,  which  are  of  easy  ascent,  these  ceils-de-bceuf  naturally  at- 


tract attention,  as  an 
excellent  view  can  be 
had  of  the  main  hall, 
and  the  few  moments 
of  rest  thus  obtained 
very  much  diminish  the 
fatigue  of  stair-climb- 
ing. A glimpse  of  the 
main  hall,  as  shown  in 
the  illustration,  is  taken 
from  the  northeast  por- 
tion of  the  building,  and 
looks  directly  on  that 
range  of  cases  of  the 
Cypriote  collection  con- 
taining the  series  of 
heads  and  busts.  The 
case  directly  in  front  is 
No.  io.  To  the  left, 
on  the  top  of  the  wood- 
cut,  is  shown  the  door 
which  opens  to  the  west 
gallery.  As  to  the  in- 
terior construction  of 
the  hall  and  its  galle- 
ries, it  should  be  dis- 
tinctly understood  that 
these  galleries  are  but 
temporary.  In  fact,  the 
whole  building  is  but 
a small  portion  of  some 
grander  plan,  which  in 
time  to  come  will  have 
some  nine  hundred  feet 
and  more  of  frontage. 
The  initial  letterC  to  this 
engraving  is  a careful 
copy  of  a silver  brace- 
let, with  a lion’s  head 
of  archaic  type,  from 
the  Curium  collection. 

Continuing  a description  of  the  pottery  collec- 
tion, Group  V.,  composed  of  eight  pieces,  represents, 
with  the  exception  of  the  triple-bulbed  bottle,  the 
pitcher  with  the  woman’s  head,  and  the  fish-formed 
object,  about  the  same  period  of  Cyprian  Art.  The 
horse-shaped  vessel  is  of  white  clay,  and  has  for  deco- 
ration lozenges  made  with  cross-bars,  of  a brownish 
black.  It  has  a handle  for  convenience  of  carrying. 
The  fluid  was  poured  into  the  funnel-like  aperture 
back  of  the  handle,  and  was  taken  out  of  the  mouth. 
It  was  possibly  an  oil-feeder.  It  is  poorly  and 
coarsely  modelled,  and  in  the  infancy  of  Art.  Next 
to  it  is  a curious  circular  piece,  showing  notable 
advance  in  the  manipulation  of  the  clay.  This  circular  form  is 
a very  common  one,  and  may  be  found  in  endless  variety  in 
the  Cesnola  collection.  The  ram’s  head  is  not  inaccurately  mod- 
elled. Its  use  wras  possibly  for  sacrificial  purposes.  The  vase 
with  the  antelope-heads,  with  crossed  horns,  shows  much  greater 
skill  than  the  first  two  objects  described.  The  heads  are  typi- 
cal of  the  animals,  and  show  freedom  in  treatment.  How  the 
vase  could  be  used,  remains  rather  doubtful.  In  studying  this  ob- 
ject, comparing  the  enlarged  proportions  of  the  top  with  the  nar- 
row vase,  by  simply  inverting  it,  putting  the  bottom  on  top  (pro- 
viding the  horns  of  the  antelopes  could  be  removed),  wre  arrive  at 
a much  more  natural  form.  Evidently  the  Cypriote  potter  was 
sometimes  desirous  of  changes  in  the  appearance  of  his  vessels, 
and  in  this  way  the  design  was  imagined.  The  decoration  is 
brown  and  red,  though  these  changes  of  colour  may  be  due  to 


8 


THE  METROPOLITAN  MUSEUM  OF  ART. 


Group  V. 


imperfect  baking.  Next  to  it  is  a three-bulbed  bottle,  possibly 
imitated  from  a water-plant,  as  the  idea  is  followed  out  in  the 
gullet,  which  has  a leaf-like  form.  It  is  made  in  white  clay,  with 
a dark-brown  decoration.  These  triple  bottles,  little  triumphs  of 
the  potter’s  art,  belong  to  the  early  period  of  ceramics,  and  have 
been  repeated  by  all  races. 

When  we  come  to  the  first  object,  on  the  left  hand  of  the  lower 
plan  of  the  group,  we  arrive  at  a period  when  Art  was  more  ad- 
vanced. This  is  a vase  fairly  modelled,  having  on  top  the  rather 
crude  form  of  a woman’s  head.  The  fluid  to  be  contained  in  the 
vessel  would  be  poured  out  by  the  double  spouts,  which  show  faintly 
the  swellings  of  a woman’s  breasts.  This  recalls,  in  the  most  posi- 
tive way,  the  worship  of  the  Phoenician  Astarte.  Like  all  Cypriote 
work,  where  the  Art-sense  was  dull,  the  handle  is  wanting  in  grace 
of  curve.  The  ornamentation  just  below  the  neck  is  geometric — a 
series  of  circles,  one 
within  another.  For 
comparison’  sake,  the 
student  should  look 
at  a vase  almost  be- 
side it,  which  em- 
bodies the  same  idea, 
and  has  truer  Greek 
feeling  in  it.  The 
form  is  more  grace- 
ful, and  the  whole  de- 
tails better  worked 
out.  The  Cyprian 
workman,  with  very 
few  exceptions,  rarely 
improved  when  he 
copied.  It  is  worth 
while  to  comment 
somewhat  on  these 
geometrical  decora- 


tions to  be  found  on  so  many  of  these  Cyprian  objects.  There 
can  be  no  doubt  that  man  first  fashioned  clay  into  the  forms 
required  for  use,  and  that  bronze  followed  afterwards.  Archae- 
ological studies  teach  us  of  the  immensity  of  time  which  sepa- 
rated these  two  events.  But,  once  that  bronze  was  made  by 
the  Etruscans,  it  asserted  itself  by  its  shapes  and  ornamentations, 
and  impressed  itself  on  the  workers  in  clay.  Forms  are  followed 
in  pottery  which  were  originally  made  in  metal,  and  in  the  geo- 
metrical decorations  one  can  see  the  bronze  ornamentation.  In 
the  Cesnola  collection  there  are  many  bronze  mirrors  which  have 
exactly  this  circular  decoration.  This  ornamentation  presupposes 

the  use  of  some  in- 
strument, like  a com- 
pass. When,  then, 
such  decorations  ap- 
pear, they  never  can 
belong  to  a very  prim- 
itive period.  A long 
and  interesting  chap- 
ter might  be  written 
on  Art  as  developed 
by  handles.  If  we 
boast  to-day  of  those 
advantages  derived 
from  the  subdivision 
of  labour,  and  believe 
that  thereby  we  pro- 
duce more  perfect  ob- 
jects, the  ancients 
were  by  no  means  ig- 
norant of  this.  Mod- 
ern researches  of  an 
archaeological  charac- 
ter tend  to  show  that 
the  bronze  makers  of 


THE  METROPOLITAN  MUSEUM  OF  ART. 


9 


Etruria  had  each  separate 
lines  of  work,  and  even  that 
handles  alone  were  made  in 
some  workshops,  which  han- 
dles were  afterwards  distri- 
buted, to  be  added,  by  less 
accomplished  workmen  in 
other  countries,  to  vases  of 
their  own  construction.  There 
probably  is  not  a greater 
touchstone  in  ancient  Art 
than  the  consideration  of  a 
handle.  How  it  is  applied, 
how  shaped,  makes  or  mars 
the  general  contour  of  an  ob- 
ject. We  shall  endeavour 
to  show  hereafter  how,  in 
handles  and  the  decoration  of 
many  objects  in  the  Cypriote 

collection,  Greek  Art  was  copied,  and  how  the  adaptation  of  the 
one  material,  clay,  for  the  other,  bronze,  was  made. 


The  fish-like  form  of  vase 
belongs  to  a more  recent 
date  than  any  of  the  others 
in  the  group.  It  is  made  of 
a dark  clay,  and  the  ornamen- 
tation is  scratched  into  it. 
The  dorsal,  caudal,  and  anal 
fins  of  the  fish  are  seen,  and 
the  eye  is  strongly  marked. 
There  is  a fair  attempt  made 
to  indicate  scales,  and  the 
handle,  a simple  ring,  is  put 
in  a good  position.  The  last 
two  figures,  of  birds,  the  first 
of  some  aquatic  fowl,  the 
last  a duck,  are  purely  ar- 
Fig : 7 . chaic.  They  stand  on  three 

feet.  In  the  last  bird,  the 
first  joint  of  the  wings  has 
been  made,  while  in  the  other  a relief  in  clay  indicates  the 
pinion.  The  fluid  was  passed  into  the  funnels,  and  then  poured 


Group  VIII. 


out  of  the  beaks.  The  smaller  duck  has  a fish  painted  on  its  Figures  6 and  7 (Nos.  385  b and  385  a,  of  the  Cesnola  col- 
side.  lection),  are  exceedingly  curious,  as  representing  the  sailing-craft 


Group  IX. 


10 


THE  METROPOLITAN  MUSEUM  OF  ART. 


of  a very  early  period.  Fig.  6 is  evidently  a galley,  to  be  worked 
with  oars.  The  least  nautical  of  readers  can  appreciate  at  once 
that,  though  this  object  is  made  roughly  in  clay,  the  lines  are 
excellent,  and  that  the  beam  of  the  craft  and  the  keel  are  not  very 
much  out  of  the  way  from  the  approved  models  of  to-day.  We 
have  in  the  prow  something  which  survives  to-day.  In  the  stern 
is  a crude  figure,  seated  on  an  overhanging  deck,  the  place  occu- 
pied by  the  steersman.  No.  7,  though  less  elaborate  than  No.  6, 
teaches  us  a great  deal.  If  this  little  boat  is  looked  at  facing 
directly  towards  the  prow,  it  will  be  found  to  be  even  nearer  to  our 
small  boat  of  to-day  than  the  other  one.  In  fact,  with  very  slight 
variations,  this  model  could  be  used,  and  it  would  be  found  to 
combine  all  the  necessary 
qualities  of  safety  and 
speed. 

In  Group  VIII.  is  a capi- 
tal piece : the  large  vase 
being  specially  notable. 

It  is  made  of  red  clay, 
handsome  in  form,  and 
would  hold  about  eight 
gallons.  The  handles  are 
curved  and  perpendicular, 
following  the  shape,  and 
are  placed  just  where  they 
should  be.  At  a glance 
the  fitness  of  the  handles 
to  bear  the  weight  of  the 
vessel  is  seen.  It  is  such 
really  good  work,  though 
not  intended  to  be  orna- 
mental, that,  assuredly 
it  does  credit  to  the  old 
workmen.  The  handles 
follow  absolutely  some 
well-known  forms  of  Greek 
work  in  their  best  period. 

To  the  right  is  a round 
globular  vessel,  terminating 
with  a narrow  neck,  sur- 
mounted with  a cow’s 
head.  This  piece  is  very 
perfect  in  form,  has  a good 
glaze,  and  the  geometrical 
work  is  quite  accurate.  In 
the  mouth  of  the  cow  the 
fluid  in  the  bottle  could 
be  poured.  This  is  a di- 
vergence from  the  usual 
shape,  though  in  common 
use  when  the  form  of  an 
animal  is  employed.  The 
handle  is  crude,  and  evin- 
ces little  grace  in  form  or 
application.  This  piece 
(No.  2,300,  in  case  23) 
refers  itself  to  early  Cy- 
prian work.  Alongside  of 
it  is  a bottle  in  red  ware, 
very  accurate  in  form,  and 
showing  very  great  clever- 
ness of  work.  It  was  pos- 
sibly made  in  two  pieces 
and  then  joined.  The  clay  is  red  and  it  has  been  well  smoothed, 
having  still  the  gloss  of  the  potter’s  tool.  The  small  vase  on 
the  left  (No.  2,289  a ) 's  °f  red  clay  with  black  lines  and  scratched 
ornamentation.  The  mouth  of  the  vase  shows  want  of  knowl- 
edge of  proper  proportion,  and  the  vase  is  too  small.  The  han- 
dles are  imitations  of  a better  Greek  form,  but  they  have  been 
put  on  with  a misconception  of  what  is  graceful.  Back  of  this 
vase  there  is  a strainer  of  clay,  the  dish  being  possibly  used  for 
placing  in  it  something  from  which  a fluid  would  drip. 

Group  IX.  consists  of  three  vases  with  a soup-plate- formed 
dish.  The  vase  to  the  left  is  very  peculiar  as  to  form,  and  bears 
on  it  a bird  with  a floral  decoration  on  each  side.  The  shape,  Mr. 


Murray  thinks,  was  extended  sideways  “ out  of  mere  desire  for 
novelty,  or  to  accommodate  the  favorite  design  of  vertical  circles.” 
Next  to  it  is  the  pitcher  (No.  5,879,  in  case  19).  The  decoration  here 
is  not  half  geometrical,  the  centers  being  filled  with  a St.  Andrew's 
and  a Maltese  cross.  The  top  of  the  pitcher  is  pinched  in,  and 
there  is  an  eye  painted  on  it.  This  top,  followed  out  by  the  potter 
of  unknown  antiquity,  was  formed  by  a pressure  of  the  fingers 
only,  and  may  be  seen  in  the  Wedgwood  tobies  of  to-day.  The 
last  piece  to  the  right  is  curious  in  decoration,  representing  a 
vessel  with  mast  and  furled  sail.  The  form  of  the  boat  is  very 
peculiar.  It  is  to  be  supposed  that  in  the  ships  of  that  day  the 
keel  rose  in  the  middle.  This  would  present  great  difficulties  of 

construction.  It  is  quite 
possible  that  this  crude  pic- 
ture was  devised  by  an  art- 
ist, who  wanted  the  out- 
lines of  his  vessel  to  con- 
form in  some  way  to  the 
shape  of  his  pitcher.  The 
plate  which  forms  the  back- 
ground is  curved  and  shows 
some  little  variety  in  design. 

The  large  vase  (figure 
10)  is  quite  remarkable. 
It  is  of  whitish  clay  with 
brown-and-red  decoration. 
The  lower  part  from  the 
neck  downward  is  better 
than  the  upper  portion. 
The  neck  has  a couple  of 
borderings  of  an  eight- 
leaved flower,  which  is  oft- 
en repeated  on  the  gar- 
lands which  crown  the 
statues.  Around  the  vase 
an  ornamentation  of  lotus- 
leaves  is  drawn,  with  a 
certain  amount  of  boldness. 
One  bud  has  been  com- 
menced and  left  unfinished, 
and  the  last  stroke  of  the 
decorator’s  brush  is  visi- 
ble. Now,  as  to  the  han- 
dles. We  can  see  here 
quite  distinctly,  beyond  the 
shadow  of  a doubt,  how 
the  bronze  vase  suggested 
the  clay  form,  where  in  the 
illustration  the  heavy  dark 
shade  ends,  then  merges 
into  a somewhat  lighter 
tone,  the  black  is  the  true 
termination  of  the  handle. 
Beyond  this  the  old  artist 
has  applied  his  colour  to 
apparently  extend  the  han- 
dle. Now,  without  a sin- 
gle exception,  antique 
bronze  vases  for  ornament 
or  use  are  made  in  one 
piece,  either  cast  or  beaten 
out,  and  the  handles  were 
distinct,  to  be  joined  to 
the  vase  afterwards.  Most  of  our  metal  vases  of  to-day  are  made 
in  this  way.  The  handles  then  were  put  on,  either  by  rivetting  or 
soldering,  sometimes  both  processes  being  used.  A number  of 
bronze  handles  in  the  Cypriote  collection  show  this.  In  the  pres- 
ent earthenware  vase,  the  decorative  artist  recalling  this  thin- 
ner portion  of  metal,  gave  his  vase  a slighter  application  of 
colour.  The  persistence  of  ornamentation  is  one  of  the  curious 
facts  in  Art,  and  may  give  indications  of  origin.  In  Group  IX. 
the  pitcher  with  the  twisted  handle  closely  resembles  the  Greek 
form,  and,  as  before  stated,  the  large  red  vessel  in  Group  VIII., 
not  only  in  shape  but  most  particularly  in  the  handles,  imitates  the 
Greek  bronze. 


III. 


NONE  of  General  Cesnola’s  discoveries  in  Cyprus  yielded  richer 
fruits  than  the  excavations  on  the  site  of  the  ancient  city  of 
Curium,  situated  on  the  western  shore  of  the  island,  and  once  a 
royal  capital.  The  city  was  built  like  an  eagle’s  nest,  on  the  sum- 
mit of  a rocky  elevation,  three  hundred  feet  above  the  level  of  the 
sea,  and  was  inaccessible  on  three  sides.  Forty  feet  up  from  the 
ground  a large  plateau  was  found  cut  on  the  slope,  about  one 
hundred  feet  wide,  and  then  scooped  twenty-five  feet  deep,  re- 


sembling a moat  around  a modern  fortress.  It  was  soon  discovered 
that  this  moat  was  not  dug  for  defensive  purposes  alone.  Every 
inch  of  available  space,  both  at  the  base  of  the  rock,  and  in  the 
wall  opposite,  had  been  husbanded  for  a city  of  the  dead.  Here 
had  been  constructed  thousands  and  thousands  of  rock-tombs. 
Not  only  had  the  builders  honeycombed  with  tombs  the  base  of 
rock,  the  ditch,  and  the  inner  side  of  the  wall,  but  they  had  cut 
their  larger  sepulchres,  consisting  of  two  or  more  chambers,  into 


Group  XI. 


the  slope  of  the  surrounding  hills — wherever,  in  fact,  they  had 
found  rock.  Even  the  plain  below  had  not  been  spared,  and  it 
was,  in  fact,  in  these  tombs,  which  never  had  been  opened,  that 
the  explorer  made  his  richest  finds,  aside  from  those  in  the 
treasure-vaults  of  the  temple  of  Curium.  It  is  to  the  latter  that 
the  greatest  interest  attaches.  In  one  place,  in  what  must  have 
been  the  heart  of  the  ancient  city,  eight  shafts  of  brownish  granite 
columns  were  noticed  imbedded  in  the  earth.  Investigation  un- 


covered under  these  shafts  a mosaic  pavement,  of  small  tesselhx 
of  marble  and  stone  of  four  different  colours,  inlaid  in  different 
patterns  and  forming  large  lotus-flowers.  Careful  excavations  were 
pursued  under  a portion  of  the  mosaic,  which  sounded  hollow, 
and  after  considerable  digging  a gallery  was  found,  one  end  of 
which  had  formerly  connected  with  the  temple  above.  At  the 
other  end  of  this  rock-gallery  appeared  a doorway,  carelessly  fast- 
ened with  a stone  slab.  This  opened  into  an  oven-shaped  cavity, 


12 


THE  METROPOLITAN  MUSEUM  OF  ART. 


which  was  nearly  filled  with  the  fine  earth  that  had  filtered  from 
above.  On  removing  the  earth  from  the  chamber,  another  open- 
ing appeared  in  the  north  wall,  which  led  into  an  inner  room  filled 
in  like  manner.  A third  and  a fourth  chamber  were  afterward  dis- 
covered, and  in  a month  of  hard  labour  these  subterranean  vaults 
were  cleared  of  the  dirt-accumulation  of  nearly  thirty  centuries. 
These  rooms  were  the  treasure-chambers  of  the  ancient  temple, 
and  here  it  was  that  the  priests  concealed  their  most  precious 
possessions,  the  votive  offerings  of  worshippers  and  the  gifts  of 
kings  and  other  men  of  wealth  and  rank.  The  treasures  found  in 
these  old  temple-vaults  consist  of  a great  quantity  of  gold  and 
silver  jewellery,  chains,  armlets,  bracelets,  anklets,  necklaces,  dia- 


dems, rings  set  with  various  jewels,  intagli,  cameos,  bronze-work, 
and  various  superb  specimens  of  pottery.  It  is  to  the  latter,  how- 
ever, that  the  attention  of  the  reader  is  now  called,  as  seen  in 
Group  XI.,  which  is  case  F in  the  south  aisle  of  the  great  hall  of 
the  Museum.  These  vases  and  statuettes  were  found  with  four- 
teen alabaster  vases,  two  bronze  lamps,  and  three  bronze  fibula. 
This  group  is  specially  noticeable,  for  it  not  only  presents  pieces 
which  are  great  novelties  in  the  collection,  but  shows  the  best 
examples  of  their  class.  It  seems  reasonable  to  believe  that  the 
offerings  of  worshippers  to  the  gods  were  better  than  their  gifts 
to  their  dead  friends,  such  as  are  found  in  tombs ; and  that  the 
priests  stored  in  these  vaults  the  best  pieces  from  the  offerings. 


Group  XII. 


The  striking  characteristic  of  these  vases  is  that  they  belong  to 
the  early  Greek  style,  with  one  or  two  exceptions,  and  show  only 
a slight  trace  of  the  Semitic  influence,  which  is  very  perceptible 
in  much  of  the  other  Cypriote  pottery. 

Prominent  among  them  is  the  great  terra-cotta  vase,  four  feet 
nine  inches  in  height,  which  instantly  addresses  itself  to  the  eye. 
This  vase  was  found  broken  to  pieces  in  the  door  connecting  the 
last  two  chambers  opened.  It  shows  the  characteristics  of  its 
class  with  great  dearness  and  fulness.  These  may  be  summed 
up  as  follows : The  ground  is  not  coated  with  paint ; the  colour 
of  the  clay  is  a pale  brown ; the  vase  is  covered  with  decoration 
from  bottom  to  top,  on  the  lower  half  with  belts  and  concentric 


circles,  on  the  upper  half  with  geometric  and  animal  decoration ; 
the  animals  are  horses,  deer,  and  water-fowl,  and  not  Asiatic  lions 
and  panthers ; the  animals  are  arranged  either  uninterruptedly  in 
girdling  rows  or  in  compartments  extending  around  the  vase  ; ab- 
sence of  all  vegetal  decoration  ; surprising  persistence  in  filling  up 
vacant  spaces  ; continual  forms  of  chequer-work  ; great  frequency 
of  girdling  rows  of  disks  or  concentric  circles,  joined  each  to  each 
by  a diagonal  line  from  the  bottom  of  the  one  to  the  top  of  the 
next ; no  curved  lines  except  the  disks,  concentric  circles,  dots  and 
gores  employed  in  filling  intervals  ; great  frequency  of  the  meander 
or  spiral  form  ; the  rectilinear  decoration  is  confined  to  framing  the 
vertical  sides  of  compartments.  This  vase  has  a shape  unique  in 


THE  METROPOLITAN  MUSEUM  OF  ART. 


13 


the  Cesnola  collection,  for  it  is  the  only  one  with  four  handles, 
and  it  rests  on  a high  foot.  The  lid  is  noteworthy,  and  is  crowned 
with  a little  hydria.  From  its  size  and  profusion  of  decoration  it 
is  one  of  the  finest  specimens  of  its  class  known,  and  must  have 
been  one  of  the  most  magnificent  art-works  of  its  day.  A set  of 
three  compartments  is  repeated  between  every  two  of  the  four 
handles,  the  middle  of  each  set  containing  a high  fir-like  tree, 
Hanked  by  a pair  of  deer,  stag  and  hind,  browsing  on  the  tree, 
a decorative  motive  probably  of  Asiatic  origin.  In  all  other 
respects  the  vase  is  of  the  purest  early  Greek  style,  and  one 
might  easily  fancy  it  was  imported  from  Athens,  were  it  not  for 
the  other  vases  found,  essentially  resembling  it  in  decorative  spirit. 
A striking  feature  of  these  vases  is  seen  in  the  geometric  patterns, 
which  are  such  as  would  naturally  be  evolved  in  the  processes  of 
metal  working  and  weaving.  For  instance,  the  rows  of  spirals 
which  make  such  a graceful  element  of  design  on  them  are  a 
simple  application  of  what  is  seen  in  a piece  of  gold  or  bronze 
wire  with  its  tendency  to  take  the  spiral  curl.  So,  again,  the  chess- 


board and  other  rectilinear  patterns  are  no  less  obviously  derived 
from  the  process  of  weaving.  The  vases  of  the  Athenian  class 
are  distinguished  from  the  other  Cypriote  pottery  in  that  the  deco- 
ration of  the  latter  is  purely  mechanical,  and  seems  not  to  have 
arisen  out  of  any  process  of  workmanship.  In  the  case  containing 
the  pottery  of  the  Curium  treasure  will  be  noticed  a number  of 
high-necked  vases  of  the  Greek  style,  on  the  shoulder  of  each  of 
which  stands  or  sits  a woman,  holding  in  her  hand  a jug,  which 
forms  the  spout  of  the  vase.  These  evidently  belong  to  the  classi- 
cal period.  The  female  figures,  in  attitude,  features,  and  drapery, 
are  excellent,  except  the  hand  holding  the  little  jug,  which  seems 
to  have  been  the  bungling  work  of  the  workman  who  fastened  the 
statuette  to  the  vase. 

The  peculiar  interest  of  the  Cesnola  collection  is  the  outcome 
of  the  fact  that  in  Cyprus  there  appears  the  record  of  something 
like  a consecutive  development  of  the  art  spirit  and  method  from 
the  earliest  times,  when  the  attempt  to  express  ideals  in  forms  of 
sculpture  and  pottery  displayed  the  purely  Phoenician  and  Assyrian 


Group  XIII. 


types,  to  the  more  perfect  evolution  of  the  Greek  age.  A few  of 
the  vases  and  statuettes  of  the  Curium  treasure  show  traces  of  the 
Asiatic  influence,  the  features  of  the  women’s  faces  being  dis- 
tinctly Semitic  in  type,  though  in  general  the  modelling  and  con- 
tour of  the  figures  are  Greek.  For  fine  examples  of  the  more 
archaic  sculpture  we  must  look  to  the  results  of  the  excavations 
made  at  Golgoi,  an  excellent  illustration  of  which  is  found  in  Group 
XII.,  which  is  found  in  the  north  aisle  of  the  main  hall.  At  Golgoi, 
as  in  other  parts  of  Cyprus,  it  may  be  stated,  the  statues  do  not 
belong  to  any  one  period,  but  we  find,  among  the  great  number 
taken  from  this  graveyard  of  ancient  races,  groups  which  distinctly 
refer  themselves  to  the  most  ancient  art  development.  The 
Cypriote  type  of  face,  that  prevailing  in  the  statues  of  the  Phoeni- 
cian period  in  Golgoi,  taken  from  the  tombs  and  from  the  site  of 
the  temple,  indicates  clearly  the  Asiatic  origin  of  the  people. 
Golgoi  was  one  among  the  fifteen  most  important  towns  of  Cy- 
prus, and  was  a prominent  centre  of  the  worship  of  Aphrodite, 
who  derived  her  title  of  Golgia  from  it,  though  at  what  time  the 
Assyrian  Astarte  became  the  Greek  Aphrodite  it  is  difficult  to 


determine.  Long  after  Greek  immigration  had  the  influence  to 
effect  this,  however,  it  appears  that  the  Phoenician  or  Assyrian 
conception,  modified  by  the  Egyptian,  governed  the  sculptor’s 
efforts.  The  Phoenician  sculptor  desired  not  to  create  beauty, 
but  to  produce  a likeness.  He  was  interested  only  in  the  face, 
and  it  did  not  disturb  him  that  he  made  the  hair  and  beard  fall 
like  folds  of  cloth.  To  the  Greek,  on  the  other  hand,  the  beauty 
of  life  was  above  everything  else,  and  he  neglected  nothing.  So 
he  carved  rather  imaginative  embodiments  or  types  of  men  and 
women  than  likenesses.  The  colossal  head  of  stone,  two  feet  ten 
and  a half  inches  high,  which  is  the  principal  object  in  Group 
XII.,  was  found  in  conjunction  with  thirty-two  statues  of  various 
sizes,  all  more  or  less  mutilated,  and  twenty-six  bases,  some  with 
and  some  without  the  feet  adhering  to  them,  together-  with  a 
promiscuous  mass  of  legs,  arms,  and  bodies,  scattered  about  in 
the  vicinity.  The  body  belonging  to  this  huge  head  was  not  dis- 
covered. The  massive  stone  features  belong  clearly  to  the  Assyro- 
Egyptian  style  of  art,  and  it  is  most  probable  all  the  statues  found 
here  were  portraits  of  native  Cypriote  dignitaries,  since  the  style 


14 


THE  METROPOLITAN  MUSEUM  OF  ART. 


of  face  delineated  very  much  resembles  the  type  of  the  Cypriote 
of  to-day,  a fact  which  proves  the  permanence  of  race  characteris- 
tics. In  the  Phoenician  statuary  of  Golgoi,  detail  seems  to  have 
been  suppressed  with  great  firmness.  Form  is  rendered,  but 
texture  neglected  in  the  head,  while  in  the  body  the  sculptor  is 
indifferent  to  both.  This  summary  execution  shows  itself  in  the 
heads  represented  in  the  group  illustrated,  specially  in  the  treat- 
ment of  the  beard,  where  a few  lines  divide  it  into  four  columns, 
which  end  in  a curl.  In  the  genuine  Assyrian  reliefs,  on  the  other 
hand,  the  beard  is  disposed  in  a mass  of  curls.  The  conical  cap, 
with  the  knob  on  its  top,  is  characteristic  of  all  of  the  Phoenician 
sculpture  of  Cyprus.  The  meaning  of  this  cap  is  not  fully  known. 


It  is  not  believed  to  be  an  imitation  of  the  Assyrian  helmet,  as 
there  is  an  absence  of  accompanying  arms.  This  conical  cap  went 
out  of  fashion  in  the  statues  of  the  Greek  period,  as  it  interfered 
with  that  free  and  noble  effect  of  the  head  which  the  Greek,  in  his 
pursuit  of  the  ideally  beautiful,  aimed  to  attain.  All  of  the  stone 
heads  in  Group  XI.  belong  to  the  Golgoi  find,  and  they  are  so 
closely  allied  that  to  describe  one  is  to  describe  all. 

The  examination  of  the  various  objects  in  bronze  belonging  to 
the  Cesnola  collection  affords  the  amplest  opportunity  for  study. 
Archaeologists  have  of  late  years  somewhat  modified  their  ideas  as 
to  the  source  whence  were  derived  the  two  materials,  tin  and  cop- 
per, which,  when  combined,  make  bronze.  Up  to  the  last  few 


Group  XIV. 


years  it  was  thought  that  the  Phoenicians,  deriving  their  supplies 
of  tin  and  copper  from  Britain,  alone  furnished  the  supplies  for 
the  ancient  metal-consuming  races.  Modern  research  has,  how- 
ever, shown  beyond  a doubt  that  the  Etruscans  had,  in  Italy, 
mines  of  both  copper  and  tin,  and  made  bronze  among  the  very 
first.  Burton’s  later  discoveries  in  the  land  of  Midian  also  seem 
to  show  that  Egypt  must  have  obtained  her  metals  from  this  coun- 
try. Very  often  in  archaeological  study,  while  we  are  endeavouring 
to  accommodate  facts  to  speculations,  simpler  causes  present  them- 
selves, and  offer  easy  solutions  to  complex  subjects.  In  the  pre- 
historic period,  as  in  the  bronze  age,  this  compound  metal  was,  of 
course,  in  certain  localities,  exceedingly  scarce,  but  everything 
leads  us  to  suppose  that  in  early  historical  times  it  was  compara- 


tively plenty.  The  material  which  Britain  furnished  might  have 
been  but  a quota  of  that  brought  to  old  Greece,  Italy,  and  the 
Mediterranean  islands,  in  the  early  periods.  Britain  was  almost 
unknown  for  some  centuries  before  Caesar ; and  bronze,  so  largely 
in  use  by  the  inhabitants  of  Italy,  must  have  been  derived  from 
nearer  sources. 

In  Group  XIII.  are  four  objects  in  bronze.  The  first  is  a 
strainer,  with  handles,  possibly  used  for  wine.  The  second  is  a 
jug,  perfect  in  model,  and  absolutely  familiar.  The  flat,  dish-like 
bronze  has  an  outer  bronze  ring,  with  ornamentations.  These 
decorations  are  shaped  like  the  knuckle-bones  of  animals.  They 
are  placed  around  the  dish  at  different  intervals.  Possibly  the  two 
pairs  on  the  opposite  sides,  which  are  the  nearer,  held  a handle, 


THE  METROPOLITAN  MUSEUM  OF  ART. 


while  the  others  have  been  lost.  The  use  of  the  last  vase,  with  a handle  seems  to  show  that  it  was  intended  to  be  carried  about.  The 

kind  of  hook  or  agraffe,  with  its  long,  square  spout  ending  in  a whole  work  is  very  good,  and  the  preservation  of  the  piece  perfect, 

lion’s  head,  cannot  be  determined.  It  might  have  been  used  for  Group  XIV.  contains  two  capital  objects,  the  large  cauldron- 
sacrificial  purposes,  as  the  dropping  of  oil  in  the  fire.  It  has  been  shaped  vases.  The  first  has  a diameter  of  twenty  inches,  the 

suggested  that  the  spout  was  passed  through  some  partition  of  a second  of  some  twenty-five  inches.  The  handles  on  the  lower 

building,  the  vase  being  concealed  behind  a wall.  However,  the  bronze  are  very  peculiar,  ending  in  a lotus-shape.  The  small  vase 


Group  X V. 


to  the  right,  on  top,  is  graceful  in  form,  and  has  a well-turned 
handle.  The  depression  on  top  in  the  mouth  is  frequently  re- 
peated in  the  ceramic  collection  coming  from  Cyprus.  The  last 
vase,  on  the  right  hand  at  the  bottom,  is  certainly  Greek,  and  of  a 
good  period.  The  handle,  which  comes  to  the  very  top,  terminates 
in  a lion’s  head,  which  grasps  in  the  mouth  the  egg-pattern  around 
the  top  of  the  vase.  The  form  is  full  and  ample,  though  the  spout 
is  insignificant.  By  comparing  the  outlines  of  this  vase  with  the 
one  in  Group  V.  (the  vase  with  the  woman’s  head),  save  that  in  the 
last  the  spouts  are  doubled,  the  persistency  of  form  may  be  found. 

In  Group  XV.  we  have  numerous  objects,  most  of  which  belong 
to  the  toilette  of  the  old  Greeks.  The  round  bronze  suspended 
from  a hook,  the  handles  terminating  in  cows’  heads,  is  a mirror- 
case.  Similar  cases,  of  Etruscan  and  Grecian  origin,  are  found  all 
over  Europe.  The  circles  engraved  on  it  recall  the  geometrical 
figures,  before  spoken  of,  in  the  small  earthenware  vases.  This 
case  contained  the  mirror,  which  was  detached.  In  former  times 
(they  are  even  in  use  to-day)  we  made  a small  portable  pocket 
glass  in  a box  very  much  in  the  same  way.  The  mirrors  were  of 
bronze,  covered  with  tin,  and  female  slaves,  with  their  soft  palms, 
constantly  burnished  the  faces.  These  covers  are  often  miracles 
of  repousse  work,  and  are  among  the  most  prized  of  all  antique 
objects.  Generally  they  reproduce  some  Homeric  or  mythological 
story,  with  a realistic  tendency,  different  from  the  backs  of  the 
mirrors  themselves,  which  were  engraved.  The  engraving  is  by 
no  means  deep,  only  finely  scratched.  The  mirrors  are  more  con- 
ventional in  design,  even  archaic.  Those  found  in  Etruria  may 
be  considered  as  models,  which  all  the  rest  of  the  old  workers  in 
metal  followed. 

To  the  right  and  left  are  two  fan-shaped  mirrors,  the  one  to  the 
left  ornamented  in  an  Egyptian  manner,  the  disk  of  the  sun,  with 


• the  two  wings.  These  shapes  are  peculiar  to  Asia  Minor  and 
Egypt.  In  the  centre  is  a bronze  box,  not  very  much  unlike  our 
toilette-powder  receptacle  of  to-day.  The  shell-shaped  bronze 
was  possibly  used  for  ointment.  Across  it  is  a pair  of  tweezers. 
Invention  went  very  far  in  tweezers  in  antique  times,  and  they  are 
found  in  many  shapes.  Some  have  a straight  piece  of  metal  be- 
tween the  tongs,  so  that  the  depilatory  process  was  very  much 
facilitated.  The  four  bronze  objects  leaning  to  the  right  and  left 
are  pins  for  the  hair,  two  made  like  oar-blades.  We  have  revived 
to-day  the  fibula , or  safety-pin,  twenty  centuries  old,  though  it  sur- 
vived during  all  ages.  The  curved  implement  between  the  fibulce 
is  a strigilum,  or  bath  scraper,  numbers  of  which  are  found  in  all 
parts  of  old  Greece.  Our  own  American  Indians  used  a bone,  of 
the  same  shape. 

In  all  these  bronzes  there  is  not  one  which  recalls  the  Cyprian 
manner  of  treatment,  save  in  the  ornamentation  of  the  double 
handles  of  the  large  vessel  in  Group  XV.  The  art  is  excellent, 
the  same  as  belongs  to  the  Etruscans,  with  but  the  faintest  ap- 
proach in  a single  object  to  an  Egyptian  inspiration.  AH  were 
possibly  imported  into  Cyprus.  We  cannot  but  have  the  utmost 
respect  for  the  metal-workers  of  that  olden  time.  All  that  they 
produced  was  excellent,  and  they  were  imbued  with  a very  clear 
perception  of  what  was  beautiful  in  Art.  An  analysis  of  the 
materials  used  shows  that  the  old  Greek  or  Etruscan  was  perfectly 
familiar  with  the  exact  proportions  of  tin  and  copper  necessary  to 
produce  the  best  of  bronzes.  The  Cypriote  collection  contains  a 
certain  number  of  bronze  swords,  spear-heads,  bronze  axes,  and  a 
most  interesting  series  of  detached  ornamental  objects,  showing 
how  universal  was  the  use  of  this  metal.  Many  of  these  objects 
are  deeply  coated  with  oxide  and  verdigris,  but  some  are  almost  as 
perfect  as  when  they  left  the  maker’s  hands. 


IV. 


the  first  illustration,  the  sarcophagus  discovered  at  Amathus  is 
on  the  extreme  left.  This  sarcophagus  is  undoubtedly  a produc- 
tion of  the  Graeco-Phoenician  period,  the  first  influence  being  the 
stronger.  On  the  sloping  lid,  a portion  of  the  cover  of  the  sarco- 
phagus only  remaining,  are  two  Sphinxes.  Around  the  whole 
monument  runs  a border  of  lotus-flowers,  and  at  each  corner  is  a 
sacred  tree.  The  preservation  of  this  sarcophagus  is  very  bad, 
but  it  gives  a good  conception  of  an  ancient  sepulchral  monu- 
ment. On  each  side  bas-reliefs  are  found,  with  figures  on  foot, 
and  in  chariots,  with  horses.  The  peculiar  forms  of  the  chariots 
are  worthy  of  study,  with  the  outline  of  the  wheels,  the  spokes 
and  hubs.  The  method  of  harnessing  resembles  that  in  use  in 
Egypt  at  the  same  period,  the  collar  being  placed  high  on  the 
neck  of  the  horse,  the  reins  passing  through  it.  In  one  of  the 


Hall  of  Aticient  Statuary. 


FROM  the  left-hand  side  of  the  large  main  hall,  looking  towards 
Fifth  Avenue,  an  admirable  standpoint  is  gained,  permitting 
a view  of  some  of  the  capital  pieces  of  the  Cesnola  collection.  In 


: 


THE  METROPOLITAN  MUSEUM  OF  ART. 


1 7 


chariots  an  attendant  holds  an  umbrella  over  the  driver.  The  um-  1 processions,  both  of  whom  wear  pointed  caps,  are  Assyrian,  such 
brella  in  ancient  Art,  of  as  early  a period  as  is  this  sarcophagus,  ! head-costumes,  with  some  slight  modification,  being  in  use  to-day 
is  exceedingly  rare.  The  drapery  and  general  treatment  of  the  by  the  Persians.  In  the  illustration,  some  little  to  the  right,  extended 
figures  are  partly  Persian,  partly  Assyrian.  The  three  soldiers  to  its  full  length,  is  a large  sarcophagus  of  marble,  the  lid  having 
on  one  side  of  the  sarcophagus,  following  one  of  the  chariots,  are  on  it  a head  with  long  tresses.  Its  resemblance  to  an  Egyptian 
Greek ; while  the  two  men  on  horseback  who  precede  one  of  the  mummy-case  is  striking.  In  the  cases  at  the  back  of  the  picture 


Group  X VI. 


are  to  be  found  the  statues  belonging  to  the  Egyptian  and  Egypto- 
Phcenician  periods.  At  the  extreme  end  of  the  hall  are  two  more 
sarcophagi,  one  with  a Cupid  and  Psyche,  found  at  Tarsus. 

In  examining  Group  XV.,  in  the  last  chapter,  we  see  the  forms 
of  mirrors.  These,  as  far  as  their  outlines  go,  are  constant.  There 
is  the  round  mirror,  which  was  suspended.  This  is  invariably  cir- 
cular. For  this  special  purpose  the  oval  never  was  adopted.  For 
hand-mirrors  we  have  the  round  form,  some  little  changed  by  or- 
namentation at  its  base  where  the  handle  joined  it ; or  the  oval 


form,  the  handle  coming  out  from  the  longer  side  of  the  oval. 
Intermixtures  of  these  forms  never  exist.  An  oval  mirror  with 
handle,  such  as  we  have  adopted  to-day,  common  in  a lady's 
toilette,  the  Greeks,  Etruscans,  or  Phoenicians,  were  ignorant 
about.  There  is  conventionality  to  be  considered  as  a fixed  char- 
acteristic in  all  such  ancient  ware.  When  it  comes  to  the  deco- 
ration of  such  objects,  then  a wider  scope  is  given,  and  Art  is 
untrammelled.  In  Cyprus  there  were  many  mines  of  copper, 
the  bronze  implements  showing  native  handiwork.  All  the  fine 


i8 


THE  METROPOLITAN  MUSEUM  OF  ART. 


bronze  objects  in  the  Cesnola  collection  bear  the  marks  of 
Cyprian  make,  and  are  not  likely  to  have  been  imported  from 
Italy  or  from  Greece.  As  to  the  minor  and  smaller  imple- 
ments for  the  toilette,  such  as  hair-pins,  fibulas,  and  strigilla,  these 
forms  were  repeated  through  many  centuries,  commencing  almost 
with  prehistoric  times,  and  ending  with  the  period  of  Charle- 
magne. 

In  Group  XVI.  the  figure  in  bronze  at  the  right  is  some  four 
inches  high,  and  is  exceedingly  curious.  It  was  designed  as  the 
handle  of  a mirror,  as  you  can  see  the  holes  where  the  disk 
was  affixed.  The  figure  stands  on  a frog,  which  is  supported 
by  a cross-legged  stool.  The  frog  in  Egyptian  symbolism  repre- 
sents time.  The  hands  of  the  figure  hold  cymbals.  The  or- 
namentation on  the  head  is  only  slightly  Egyptian,  and  rather 


Hindoo  in  character.  The  modelling  of  the  body,  which  is  rather 
full  and  corpulent,  is  not  suggestive  of  Egyptian  form.  This  is 
just  one  of  those  figures  which  puzzle  the  artist  and  archaeologist, 
and  the  determination  of  its  source  must  remain  for  some  time  to 
come  unknown.  What  it  does  prove  is,  that  Cyprus  certainly  drew 
to  itself  work  from  the  farthest  countries  of  antiquity.  If  it  be 
Asiatic,  which  is  highly  probable,  it  shows  that  trade  existed  be- 
tween the  far  East,  Greece,  and  the  islands  of  the  Mediterranean, 
some  centuries  before  the  conquest  of  India  by  Alexander.  The 
large  circular  disk  standing  on  the  tripod  represents  the  bottom  of 
a bronze  bowl.  This  design  is  very  elaborate  and  elegantly  com- 
posed. In  the  centre  is  a rosace,  with  twisted  ornamentation  sur- 
rounding it.  From  this  diverges  a conventional  forest  with  the 
forms  of  the  lotus.  Four  antelopes  at  regular  intervals  stand  out 


Group  XVII. 


from  the  metal  in  repousse.  The  animals  are  careful  as  to  draw- 
ing and  graceful  in  form.  The  Egypto-Assyrian  design  shows 
great  skill  in  metal-work.  The  tripod  on  which  it  stands  is  of 
bronze,  Assyrian  in  character.  There  is  a twisted  metal  orna- 
mentation introduced  into  the  supports.  The  feet  are  those  of  a 
ruminant  animal.  Around  the  upper  portion,  a series  of  animals 
is  designed.  Its  purpose  might  have  been  to  hold  a vase.  The 
tripod  itself  is  indicative  of  the  worship  of  Apollo.  To  the  right  of 
the  larger  tripod  is  a smaller  one  with  pendent  ornamentations, 
certainly  of  more  recent  date.  To  the  left  are  two  candelabra  of 
bronze ; one  is  for  holding  a lamp,  and  the  other  is  surmounted 
with  a small  figure,  Graeco-Egyptian  in  style.  The  three  feet  on 
which  they  stand  are  almost  constantly  found  on  candelabra,  and 
seemed  to  have  originated  in  Etruria.  The  ivy-leaf  on  the  one  to 
the  left  recalls  the  woiship  of  Bacchus.  These  forms  of  candela- 


bra are  wonderfully  persistent,  and  we  have  continued  copying 
them  up  to  to-day.  Across  the  bottom  of  the  engraving  is  a spear- 
head of  bronze  very  much  corroded. 

In  Group  XVII.  we  have  examples  of  three  different  kinds  of 
bronze  handles.  The  two  to  the  right  belong  to  the  best  period 
of  Greek  Art,  such  as  might  have  been  found  in  Italy.  The  one 
terminating  in  a vine-leaf  shows  excellence  of  design.  It  was  first 
cast  and  then  cut  with  a graving-tool.  As  Owen  constructed  the 
form  of  an  animal  from  a single  bone,  from  this  handle  the  outline 
of  the  vase  may  be  imagined.  It  was  a bronze  vessel  with  a single 
handle,  perfectly  modest  in  ornamentation,  the  decorative  portion 
only  existing  in  the  handle.  It  has  been  mentioned  before  that  it 
seems  to  be  quite  certain  that  there  were  manufacturers  of  handles 
who  made  nothing  else.  Other  workmen  fashioned  the  vases  and 
] applied  the  handles.  The  handle  next  to  it,  the  twisted  form  of 


THE.  METROPOLITAN  MUSEUM  OF  ART. 


19 


which  terminates  in  a rosace,  is  also  Graeco-Italian,  though  not 
quite  so  artistic.  It  was  also  the  appendage  to  a single-handled 
vase.  The  third  form  is  not  difficult  to  establish  as  to  origin.  It 
is  Assyrio-Egyptian,  with  its  lions  holding  vases.  At  the  bottom 
are  the  heads  of  oxen  with  long  horns  almost  encircling  the  heads, 
the  bottom  one  being  reversed.  On  the  right-hand  side  is  the 
bronze  handle  to  a dish. 

Commencing  with  the  object  to  the  left  of  Group  XVIII.,  we  have 
a bronze  lion’s  head  used  as  a spout  either  for  the  decoration  of  a 
bath  or  a fountain.  To  study  the  forms  of  animals,  especially  of 
lions,  in  ancient  work,  is  to  embrace  the  whole  history  of  Art.  At 
first  the  old  sculptors  appear  to  have  treated  human  forms  more 
conventionally  than  those  of  animals.  Men  were  endowed  with 
mystic  characteristics,  while  animals  were  designed  as  accurately 
as  possible  in  a realistic  sense.  In  early  Assyrian  work,  man  or 
woman’s  face  in  profile  was  made  with  the  eye  looking  quite  like 
that  of  a front-face  view.  This  did  not  arise  apparently  from  ig- 
norance of  Art,  for  when  they  wanted  to  draw  or  design  the  profile 
of  an  animal,  such  as  of  a dog,  a horse,  or  a lion,  the  eye  was 
properly  conceived.  There  was  stiffness  of  drawing  in  both  man 
and  animal,  with  an  exaggeration  of  muscular  life.  In  the  Phidian 
era,  Art  approaches  to  Nature,  while  before  that  time  it  was  an 
exaggeration.  Later,  after  the  period  of  Alexander  the  Great,  Art 
especially  adapted  to  ordinary  objects  became  in  a certain  way 
conventional,  more  especially  in  such  things  as  were  adapted  for 
common  usage.  This  lion  is  Graeco-Roman  of  a by  no  means 


good  period.  There  is  a candelabrum  to  the  left,  one  of  many 
belonging  to  the  collection.  This  might  have  been  used  to  hold  a 
torch  when  put  in  position  as  in  the  picture,  or  the  top  might  have 
been  reversed  and  the  candelabrum  or  socket  would  have  stood  on 
that  end.  The  use  of  the  small  bronze  objects  suspended  on  the 
ribbon  is  not  easily  determined.  They  may  be  ornamental  bosses, 
used  for  personal  decoration.  Equally  enigmatical  is  the  bronze 
object  hanging  in  the  middle  of  the  ribbon.  The  two  bronze  disks 
to  the  right,  looking  like  large  buttons,  are  bronze  bosses,  and 
might  have  been  the  terminations  of  a belt.  To  the  right  is  a 
bronze  spear-head,  with  socket  for  the  introduction  of  the  wooden 
shaft.  The  bronze  dish  is  remarkable  for  its  excellent  preserva- 
tion, and  the  bosses  which  surround  it  are  not  only  ornamental, 
but  add  to  the  strength  of  the  piece.  The  handles  are  well  made, 
and  show  the  skill  of  the  workman. 

The  study  of  ancient  arms  of  offence  finds  in  Group  XIX.  a very 
thorough  illustration.  Most  of  the  tangs  of  the  old  spears  and 
arrow-heads  are  bent,  as  may  be  seen  in  the  javelin-head  on  the 
left.  With  very  few  exceptions,  the  shapes  of  arrow-heads  have 
changed  but  little  from  those  fashioned  out  of  flint  by  prehistoric 
man.  The  wants  of  human  beings  suggested  almost  at  their 
birth  arms  for  hunting  and  war.  We  enter  here  on  this  very 
difficult  metallurgical  question,  How  did  the  people  of  the  bronze 
age  succeed  in  combining  tin  and  copper  in  such  proportions  as  to 
give  the  new  compound  a cutting-edge  ? The  most  careful  analysis 
fails  to  find  any  great  difference  in  the  proportions  of  metals  used 


Group  XVIII. 


in  early  bronze-making.  Bronze  spear-heads  of  prehistoric  times, 
taken  from  the  Swiss  lakes,  when  divided  into  their  elements  by 
the  chemist,  if  compared  with  those  of  early  Greek  periods,  show 
precisely  the  same  composition. 

Knives,  scissors,  and  chisels,  of  phosphor-bronze,  possess  some 
of  the  best  qualities  of  steel.  But  though  traces  of  phosphates 
may  be  found  in  the  analysis  of  old  bronze,  its  presence  is  certainly 
accidental,  and  arose  from  imperfect  preparation  of  the  metal.  It 
seems  so  very  certain  that  bronze  was  used  in  early  periods  for  cut- 
ting processes  that  an  explanation  of  the  process  of  making  it  has 
been  long  sought  for.  It  is  known  that  when  bronze  is  cast  under 


peculiar  circumstances,  and  then  worked  afterwards,  it  does  pos- 
sess a certain  hardness — sufficient  to  allow  it  to  be  converted  into 
a cutting  instrument.  Quite  a long  time  ago,  moulds  in  bronze, 
in  which  bronze  hatchets  or  celts  had  been  cast,  were  discovered. 
To-day,  to  cast  bronze  in  bronze  would  almost  defy  the  skill  of  the 
most  expert  bronze-worker.  But  still  it  is  evident  that  the  old 
workmen  did  this  under  certain  special  circumstances,  but  only 
when  cutting  implements  were  wanted.  It  seems  that,  when 
bronze  is  poured  into  a bronze  mould,  it  acquires  a certain  temper. 
We  might  repeat  this  experiment,  but  the  difficulty  exists  that  the 
cast  would  stick  in  the  mould.  Again,  a considerable  temper  can 


20 


THE  METROPOLITAN  MUSEUM  OF  ART. 


be  given  to  bronze  when  it  is  hammered.  It  is  possible  that  the 
old  makers  of  bronze  armour  and  spear-heads  made  their  metal 
tough  and  tenacious  in  this  way.  Length  of  time  since  these 
weapons  were  made,  with  the  change  of  molecules,  accounts  for 
the  present  softness  of  the  bronze  weapons  of  ancient  times. 

In  looking  at  these  arrow,  spear,  and  javelin  heads,  we  see  great 
diversity  of  form.  The  second  one  to  the  left  has  a leaf-like  form, 
but  the  one  next  to  it  is  probably  more  modern,  being  four-sided. 
This  especial  form  of  arrow-head  was  long  retained,  and  English 
archers  used  arrows  tipped  in  this  way,  and  the  longest  survival  of 
this  shape  was  employed  by  the  cross-bowman.  On  top  is  a curi- 
ously-formed, curved,  bronze  implement,  somewhat  sickle-shaped, 
the  use  of  which  is  not  known.  Similar  objects  have  been  discov- 
ered in  the  Lacustrine  finds.  Beneath  the  arrow-heads  is  a bronze 
bit,  jointed  in  the  middle  precisely  as  are  the  most  approved  bits 
of  to-day.  Its  exceeding  width  somewhat  surprises  us.  We  have 
no  reason  to  suppose  that  the  horses  of  twenty-four  hundred  years 
ago  were  so  large  as  those  of  to-day.  The  horses  of  the  Parthenon 


are  gamy  little  fellows,  with  saucy  heads,  fine  crests,  and  fairish 
necks,  but  are  not  big  horses.  A warm  climate,  though  it  may 
make  an  elephant  of  the  largest  proportions,  will  not  produce  a big 
horse.  Quite  possibly  the  Greek  horse,  or  the  Cyprus  horse,  had 
his  blood  renewed  from  Egypt  and  the  African  coast,  for  the 
Numidians  must  have  had  capital  mounts.  These  huge  bits  are 
therefore  very  puzzling.  We  can  only  suppose  that  they  extended 
very  much  beyond  the  sides  of  the  horse’s  mouth,  as  the  joint  in 
the  middle  allowed  of  this.  At  the  best,  they  must  have  been 
cruel  bits.  So  perfect  is  the  preservation  of  one  of  these  bits  that 
a horseman  of  to-day  might  attach  it  to  the  bridle  of  his  horse. 

In  Group  XX.  are  forms  of  vases,  and  utensils  of  quite  different 
dates.  On  the  left  is  a small  bowl,  supported  on  three  feet,  made 
of  some  stone  resembling  basalt.  It  is  possibly  of  great  antiquity, 
from  the  simplicity  of  its  form.  There  are  two  smaller  objects 
next  to  it  that  we  cannot  explain.  The  round  one,  with  the  cup- 
like form,  may  possibly  have  been  used  as  a weight  in  spinning; 
the  other,  shaped  like  a cork,  for  crushing  purposes.  The  largest 


Group  XIX. 


object  in  the  middle  is  of  basalt  or  serpentine,  as  it  is  not  so  old 
as  the  first  object  designated.  The  line  ornamentation,  which 
follows  perpendicularly  the  outline  of  the  object,  belongs  to  a more 
recent  date.  The  use  of  the  small  double-curved  object  we  cannot 
determine.  The  vase  to  the  right  is  of  the  same  material  as  the 
larger  vase.  The  cover  is  made  of  a different  material.  The  chain 
of  beads  is  very  curious,  not  only  as  to  form  but  ornamentation. 
The  double  cone  is  a favorite  form  with  primeval  people,  and  the 
simple  ornamentation,  a circle  with  a dot  in  the  middle  of  it,  be- 
longs to  the  remotest  antiquity.  This  necklace  recalls  in  many 
ways  the  form  of  similar  objects  used  for  personal  adornment, 
worn  by  our  Indians.  The  reason  why  races  in  many  different 
parts  of  the  world  adopt  the  same  simple  forms,  and  decorate  these 
objects  in  an  almost  identical  manner,  is  because  such  shapes  were 
the  easiest  to  make  with  such  rough  tools  as  were  first  originated 
in  man’s  brain. 

Under  the  beads  hang  two  very  cleverly-imagined  masks  or 
heads.  One  is  so  much  like  a negro  that  its  distinguishing  traits 


are  at  once  visible.  This  small  head  is  valuable  in  an  anthropo- 
logical sense,  as  it  shows  how  immutable  is  this  type  of  race. 
These  objects  are  in  case  No.  7. 

Group  XXL  represents  a group  of  objects,  the  use  of  which 
it  is  again  difficult  to  determine.  The  supposition  is  that  they 
were  mace-heads,  used  as  insignia  of  dignity.  The  two  forms  to 
the  left  and  centre  are  of  bronze,  and  are  wonderfully  true  as  to 
geometrical  design.  The  one  which  stands  in  a socket  is  appar- 
ently derived,  as  to  shape,  from  the  middle  one.  An  object  in 
agate,  found  in  the  Curium  treasure-chamber,  which  may  be 
rightly  called  a mace-head,  may  indicate  the  use  of  all  three  ob- 
jects which  make  up  our  illustration.  The  Rev.  C.  W.  King,  of 
Cambridge,  England,  who  for  wonderful  archaeological  acquaint- 
ance has  no  rival,  mentions  that  maces  somewhat  following  these 
shapes  are  often  seen  on  sculptures  of  the  Assyrian  period.  Quite 
possibly  they  might  have  been  used  as  insignia  of  office.  In  the 
carvings  of  Persepolis,  Mr.  King  says  there  is  designed  “a  Persian 
usher  introducing  each  deputation  of  the  subject  nations  into  the 


THE  METROPOLITAN  MUSEUM  OF  ART. 


21 


Group  XX. 


royal  presence,  and  who  carries  a staff  of  office,  headed  by  a ball, 
doubtless  of  precious  material.”  The  body-guard  of  Xerxes,  to 
designate  their  particular  service,  carried  on  the  butt-end  of  their 
spears  a golden  apple  or  pomegranate.  The  object  to  the  right, 
terminating  in  cows’  heads,  is  of  bronze,  and  is  also  from  the  trea- 
sure-chamber of  Curium.  Whether  this  indicates  the  worship  of 
Hathor,  the  Aphrodite  of  the  Egyptians,  we  leave  to  others  to 


solve.  Such  cow-heads,  as  terminations  to  ornaments,  are  very 
common  in  Phoenician  trinkets.  Ornaments  in  gold,  such  as  have 
come  down  to  us  from  the  Phoenicians  and  Cypriotes,  were  never 
very  massive.  Fineness  of  execution  took  the  place  of  weight  of 
the  metal.  There  are,  however,  notable  exceptions,  as,  for  in- 
stance, two  gold  armlets  weighing  over  two  pounds  apiece  and 
i several  massive  gold  bracelets  in  the  Curium  treasure. 


Group  XXI. 


V. 


as  other  examples  of  Oriental  Art- 
work. 

The  upper  portion  of  Group 
XXII.  gives  us  some  of  the  best 
examples  of  the  gold  jewellery  dis- 
covered in  the  Curium  treasure- 
house.  All  these  articles  were, 
without  doubt,  votive  offerings, 
which  the  priests  were  unable,  in 
their  haste  at  the  time  of  the  de- 
struction of  the  temple,  to  remove 
from  the  vaults.  The  beauty  and 
delicacy  of  this  goldsmith-work 
have  very  justly  commanded  the 
admiration  of  our  most  artistic 
designers,  and  many  of  the  forms 
have  been  copied  to  great  advan- 
tage. Aside  from  the  many  fine 
examples  of  ancient  glyptic  Art, 
of  which  the  treasure-chambers  of 
Curium  disclosed  a larger  number 
of  valuable  and  suggestive  objects 
than  have  ever  been  before  dis- 
covered at  one  time,  the  amulets, 
bracelets,  armlets,  and  necklaces, 
shown  in  the  illustration,  give  the 
most  striking  instances  of  the  skill 
of  the  Cyprian  jewellers.  About  a 
score  of  fine  gold  necklaces  were 
discovered  in  the  Curium  vaults. 
The  upper  necklace  shown  is  com- 
posed of  seventy  finely-wrought 
gold  beads,  and  about  twenty 
large  gold  acorns  as  pendents. 


THE  South  Gallery  of  the  Metropolitan  Museum  is  most  inter- 
esting for  its  exhibition  of  Cyprian  glass  and  the  unique 
specimens  of  ancient  jewellery  and  gems  found  in  the  treasure- 
chamber  of  Curium.  Among 
other  noticeable  cases,  in  addi- 
tion, are  those  containing  exam- 
ples of  mediaeval  silver-work — 

Dutch,  German,  French,  Ital- 
ian, and  English,  as  well  as  old 
watches  and  enamels  ; a collec- 
tion of  mediaeval  glass;  and 
one  of  English  plate,  compris- 
ing specimens  of  work  from 
Elizabeth  to  Victoria.  In  the 
North  Gallery,  which  is  shown 
in  the  lower  portion  of  our  illus- 
tration, may  be  seen  the  splen- 


did Avery  collection  of  Oriental  porcelain — Chinese  and  Japan- 
ese— the  Pruyn  collection  of  Oriental  ivories  and  lacquer-work, 
some  of  the  gold  lacquers  from  the  Phoenix  donation,  as  well 


The  North  and  South  Galleries. 


THE  METROPOLITAN  MUSEUM  OF  ART. 


23 


the  head  of  Medusa  in  the  center.  The  Gorgon  head  was  a fa- 
vourite object  of  treatment  with  the  old  Greek  artists,  and  perhaps 
no  one  subject  recurs  more  frequently  in  their  camei  and  intagli, 
as  well  as  in  their  gold-work,  when  they  departed  from  the  purely 
decorative  treatment.  The  significance  of  the  myth,  as  well  as  the 
adaptability  of  it  for  the  graver’s  tool,  will  easily  account  for  this.  [ 


being  one  of  two  precisely  similar  to  one  another,  discovered  at 
the  same  time.  This  armlet  is  specially  significant  from  the  in- 
scription in  the  Cypriote  character,  beautifully  engraved  on  the 
inner  side.  The  inscription  consists  of  thirteen  letters  or  charac- 
ters, divided  by  a perpendicular  line  into  two  groups,  of  which  the 
first  is  the  name  of  a king  of  Paphos,  who  probably  offered  these 


The  lower  necklace  consists 
of  a quantity  of  alternate 
lotus  flowers  and  buds  in 
gold,  with  an  Egyptian  head 
as  centre-piece,  the  latter 
concealed  in  the  engraving 
by  the  bracelets  and  arm- 
lets  thrown  over  it  in  the 
grouping.  The  decorative 
motives  in  all  the  necklaces 
found  refer  themselves,  like 
all  the  other  objects  of  Art 
discovered,  to  a number  of 
different  periods,  and  to  the 
various  peoples  who  at  dif- 
ferent times  dominated  Cy- 
prus. Egyptian  and  Phoe- 
nician as  well  as  Greek  in- 
fluences are  clearly  shown, 
though  the  fineness  and 
neatness  of  manipulation  in 
their  various  specimens  of 
jewellery  would  indicate  that 
they  were  executed  when 
Greek  Art  and  handicraft 
were  at  their  best.  The 
two  bracelets  shown  are 
remarkably  interesting  spe- 
cimens, about  a dozen  hav- 
ing been  discovered  at  Curium.  One  has  at  each  extremity  a fine 
lion’s  head,  and  is  of  hollow  gold,  while  another  consists  of  a heavy 
gold  band,  about  an  inch  in  breadth,  with  rosettes,  flowers,  and 
other  designs,  in  high-relief,  on  which  are  still  visible  in  places  re- 
mains of  blue  enamel.  Some  of  the  Curium  bracelets  found  are 
of  solid  gold,  weighing  from  seven  to  nine  ounces  each.  Still  more 
interesting,  from  the  standpoint  of  the  archaeologist,  is  the  gold 
armlet  grouped  with  the  bracelets,  which  weighs  about  two  pounds, 


armlets  to  the  tem- 
ple divinity.  It  is 
as  follows : “ E-te- 
a-do-ro  to-pa-po-ba- 
si-le-o-s,”  which,  be- 
ing transformed  in- 
to the  more  classic 
Greek,  reads,  “ E-e- 
avdpov  Toil  II a<j>ov  Ba- 
ciTieug,”  or  in  Eng- 
lish, “ (the  armlet) 
of  Eteandros,  King 
of  Paphos.”  The 
Cypriote  dialect,  like 
that  of  all  the  Ioni- 
an islands,  was  con- 
siderably different 
from  that  of  Attica, 
and  the  characters 
themselves  were  dif- 
ferent, partaking  of 
the  cuneiform  shape 
of  the  Assyrian  let- 
ters. A very  remark- 
able bracelet,  shown 
at  the  upper  right- 
hand  corner,  has  a 
large,  gold  medallion 
in  the  centre,  con- 
taining an  onyx,  the  band  consisting  of  a great  number  of  large- 
ribbed,  gold  beads,  soldered  together  in  threes.  Four  gold  amu- 
lets are  hooked  to  the  bottom  of  the  medallion,  ornamented  in 
like  fashion  to  the  decoration  found  on  a large  sarcophagus  dis- 
covered at  Amathus.  Similar  bracelets  are  seen  worn  by  kings 
on  the  bas-reliefs,  from  Nineveh,  at  the  British  Museum.  Another 
large  gold  medallion,  which  was  originally  the  centre-piece  of  a 
bracelet,  is  shown  at  the  top  of  the  group.  This  has  beautiful 


Group  XXII. 


-4 


THE  METROPOLITAN  MUSEUM  OF  ART. 


granulated  work,  with  an  onyx  in  the  centre,  probably  represent- 
ing the  pupil  of  the  human  eye.  All  this  goldsmith-work  is  most 
noticeable  for  beauty  of  design  and  perfect  finish  of  treatment, 
showing  the  remarkable  skill  of  the  craftsmen  of  that  day.  The 
other  gold  and  silver  objects  shown  are  of  various  character,  most 
of  them  probably  having  been  worn  as  amulets.  That  on  the 
right,  suspended  from  the  bracelet,  is  a sphynx  ornament,  all  of 


the  decorative  treatment  being  essentially  Egyptian  in  motive.  All 
people  of  wealth  among  the  nations  bordering  on  the  Eastern 
Mediterranean  wore  costly  amulets,  and  the  manufacture  of  these 
objects  occupied  the  best  thought  and  skill  of  the  ancient  jeweller 
and  goldsmith.  Many  of  these  supposed  safeguards  against  harm, 
wrought  with  a beauty  which  has  survived  the  rust  of  time,  have 
been  found  in  Egyptian  tombs,  and  also  at  Mycenae,  at  the  time 


Group  XXIII. 


of  Dr.  Schliemann’s  excavations.  None,  however,  are  more  inter- 
esting and  worthy  of  study,  from  the  artistic  standpoint,  than  those 
discovered  at  Curium. 

The  lower  portion  of  Group  XXII.  displays  striking  examples 
of  the  old  Greek  glass-work.  The  most  notable  object  in  the 
group,  however,  is  the  large  specimen  shown  on  the  right.  This 
is  a perfume-vase  of  rock-crystal  and  of  the  conventional  Egyptian 
shape,  about  six  inches  in  height,  with  two  small  handles  wrought 
out  of  its  own  substance  upon  the  shoulders.  Rock-crystal  was  a 
material  as  highly  prized  by  the  Greeks  and  other  ancient  nations 
as  gold  ; as,  in  addition  to  its  great  beauty  and  its  adaptability  to 
cutting  and  grinding  for  toilette  articles,  it  was  believed  to  have  rare 
and  peculiar  virtues  in  the  prevention  of  disease.  Rings  were 
often  made  of  it,  and  it  was  engraved  for  seals,  the  finer  specimens 
being  classed  as  gems.  The  beautiful  perfume-bottle  mentioned 
above  has  a funnel-shaped  top,  encased  in  gold,  and  a lid  of  the 
same  metal  attached  by  a short  chain,  both  ornamented  with 
designs  in  filigree-work.  The  whole  mounting,  for  taste  and  exe- 
cution, offers  a most  perfect  specimen  of  antique  metal-work.  The 
rock-crystal  vase  was  found  at  Curium,  but  the  glass  objects  shown 
in  connection  with  it  were  exhumed  at  Dali  from  the  tombs.  The 
Cesnola  collection  of  Greek  glass  is  the  most  extensive  known  in 
the  world,  comprising  seventeen  hundred  articles,  both  plain  and 


THE  METROPOLITAN  MUSEUM  OF  ART. 


25 


simple,  various  in  form  and  color.  Among  them  may  be  seen  the 
greatest  diversity  of  ornamental  cups  and  vases,  and  bottles  of  all 
shapes  and  sizes,  known  to  any  people.  Many  of  these  glass  ob- 
jects glitter  with  a peculiarly  beautiful  iridescence,  the  result  of  the 
decay  of  animal  and  other  matter.  Among  these  objects  are 
amphorce,  vases,  lecythi,  plates,  bowls,  rings,  amulets,  beads,  &c. 
The  two  tall  vases  with  double  handles  exhibited  in  the  group  are 
specimens  of  whorl-glass,  the  spiral  form  being  introduced  into 
the  texture  of  the  substance  during  the  process  of  blowing. 
They  possess  the  peculiarly  graceful  Greek  shape,  which 
has  become  typical.  The  other  glass  objects  shown  we 
may  suppose  were  designed  for  more  common  do- 
mestic and  table  uses,  two  probably  for  water- 
bottles,  and  the  other,  perhaps,  as  a fruit-dish. 

From  the  Greek  Art  we  pass  to  that 
of  China,  in  Group  XXIII.,  as  exhib- 
ited in  their  porcelain.  The  col- 
lection of  Mr.  S.  P.  Avery, 
from  which  these  speci- 
mens are  taken,  is 
of  great  variety 
and  beauty, 
and  was 


and  in  the  intermingling  and  mottling  of  these  colours,  as  applied 
to  porcelain,  these  Orientals  may  be  considered  unapproached,  or, 
if  approached,  only  by  their  Japanese  cousins,  to  whom  they  com- 
municated their  art  in  the  first  century  of  the  Christian  era.  Col- 
ours were  applied  in  a great  variety  of  ways.  They  were  blown 
on  through  a tube  with  lace  across  the  end,  so  as  to  fall  in  minute 
bubbles  ; they  were  subjected  in  the  furnace  to  flashes  of  heat  and 
sudden  streams  of  cold  water ; gold  was  dusted  on  through  lace 
patterns;  the  surface  was  cracked,  and  the  cracks  filled  with 
colour,  making  what  we  know  as  crackled-ware — such  are 
some  of  the  Chinese  methods  by  which  they  produce 
their  effects.  Not  content  with  porcelain  bodies, 
egg-shell  ware  was  made  and  gorgeously  deco- 
rated. This  was  produced  by  enamelling 
the  interior  of  an  object,  then  grinding 
away  the  porcelain  paste  till  only 
the  thin  sheet  of  interior  enam- 
el remained.  On  this  was 
placed  another  coat  of 
enamel,  so  that  the 
object  became 
in  truth  al- 
m o s t 


Group  XXIV. 

recently  purchased  by  the  Museum.  Of  the  wonderful  skill  of 
the  Chinese  in  pottery  and  porcelain,  so  much  has  been  written  of 
late  years  that  it  would  be  vain  repetition  to  enlarge  much  on  the 
theme.  The  Chinese,  unlike  the  Japanese,  who  display  far  more 
individuality  and  invention  in  treating  lines,  regard  form  as  a mere 
vehicle  for  the  reception  and  display  of  brilliant  colour.  In  this 
kind  of  decoration  they  are  without  rivals.  In  variety  of  gem-like 
products,  copies  of  the  most  brilliant  colours  in  flowers,  stones, 
serpent-skins  and  skins  of  fishes  and  wild  animals,  the  green  of 
plants,  and  the  blue  of  the  skies,  in  every  shade,  of  every  colour, 


Most  of  the 
beautiful  rose  and 
ruby  coloured  ware  is 
of  this  kind.  A fine  exam- 
ple of  this  species  of  work  is 
shown  in  the  lantern  delineated  in 
Group  XXIII.  The  top  and  bottom 
consist  of  reticulated  or  open  work.  The 
figures  on  the  sides  depict  scenes  in  domestic 
life,  with  branches  and  foliage  of  the  plum  or  haw- 
thorn tree,  a favourite  motive  in  vegetal  decoration  with 
the  Chinese.  A striking  reticulated  vase  is  seen  in  the  up- 
per portion  of  the  group.  These  vases  indicate  the  highest 
skill  in  the  manipulation  of  pastes  as  well  as  the  most  delicate 
taste  in  the  use  and  union  of  colours.  They  are  mostly  of  the 
polygonal  form,  the  example  shown  being  four-sided.  The 
pattern  of  the  decoration  varies  on  each  side,  and  the  blend- 
ing of  the  tints  under  the  effect  of  the  light  and  shadow  of  the 
open-work  is  peculiarly  striking.  Next  to  the  reticulated  vase 
is  a hawthorn  vase  of  great  beauty.  The  term  “ hawthorn  ” 
is  always  applied  to  those  objects  decorated  with  the  branches 
and  blossoms  of  the  plum-tree,  and  specimens  of  them  are 
rare  and  very  highly  prized.  The  ground  of  the  vase  we  are 
now  describing  is  blue,  with  grasses,  plum-branches,  and 
white,  star-like  blossoms  running  over  it,  the  whole  springing 
from  green  at  the  base.  The  shape  is  unusually  graceful, 
though  it  lacks  the  slender  symmetric  beauty  so  characteris- 
tic of  the  Greek  type.  Many  examples  of  Chinese  work  in  the 
Avery  collection  are  figures  of  men,  women,  animals,  kylins, 
fruits,  and  various  objects  in  Nature.  Sometimes  these  are 
treated  symbolically,  sometimes  realistically.  The  examples 
given  in  the  group  are  those  of  a man  and  a woman,  and  of 
a female  figure  again,  mounted  on  a grotesque  monster.  They 
are  rich  in  colour,  and  both  the  texture  and  ornamentation  ot 
the  garments  are  admirably  expressed.  The  vase  with  the 
broad,  flaring  top  is  a good  example  of  raised  work  on  a crackled 
surface.  In  all  these  subtleties  of  porcelain  manipulation,  the  Chi- 
nese are  masters,  though,  of  course,  the  period  of  their  best  Art 
has  long  since  passed.  The  Art  of  to-day  confines  itself  to  imi- 
tating that  of  two  centuries  ago.  The  lowest  figure  illustrates  the 
meander  design  in  decoration,  which  was  a favourite  one  among 
all  the  Orientals  during  early  times,  even  as  far  as  the  Mediter- 
ranean, where  it  was  also  evident  in  some  examples  of  Greek  work, 
when  the  latter  was  affected  by  Eastern  influences. 

Group  XXIV.  offers  some  typical  examples  of  modern,  mediaeval, 


I'HE  METROPOLITAN  MUSEUM  OF  ART. 


26 


and  Japanese  ivory-carving,  an  art  which  has  nourished  vigorously 
among  all  nations,  and  in  every  period  of  civilisation.  It  was  not 
till  the  fourteenth  century  that  ivory-carving  assumed  the  definite 
Gothic  form,  which  showed  its  emancipation  from  the  early  classic 
models,  and  the  devotee  spirit  that  followed  in  Byzantine  Art.  Since 
the  sixteenth  century  the  Art  has  declined,  though  many  finely 
conceived  and  executed  pieces  have  been  produced  from  time  to 
time.  The  centre  figure  of  the  upper  part  of  Group  XXIV.  is  a 
statue  of  the  martyrdom  of  St.  Sebastian.  It  is  modelled  with 


much  freedom,  and  is  a good  expression  of  early  Christian  work. 
The  tankard  on  the  left  is  designed  as  a representation,  both  on 
its  cover  and  the  body,  of  the  contest  of  the  Greek  goddess  Artemis 
with  the  Amazons.  Through  the  confusion  of  interlocked  limbs 
there  appears  on  close  examination  a well-ordered  plan,  which  is 
clearly  set  forth  in  the  execution,  and  which  shows  remarkable 
dexterity.  It  is  believed  that  the  mediaeval  artists  had  a means 
of  softening  ivory,  which  enabled  them  to  model  with  far  more 
spirit  and  accuracy.  The  other  large  tankard,  which  also  be- 


Group  XXV. 


longs  to  the  early  part  of  the  seventeenth  century,  produces  a 
Bacchanalian  scene  with  good  effect.  The  other  specimens  on  the 
upper  line  are  also  striking  specimens  of  mediaeval  ivory-work. 
The  sheath  and  handle  of  the  large  dagger  are  dexterously  carved 
in  decorative  design,  but  the  smaller  weapon  is  the  more  remark- 
able of  the  two.  It  represents  ‘ The  Dance  of  Death,’ and  when 
studied  in  the  original  shows  itself  to  be  a very  noticeable  piece 
of  Art-work.  The  hunting-horn  is  an  example  of  Russian  ivory- 
work,  when  the  cutting  of  this  fine  material,  owing  to  the  fact, 


perhaps,  that  there  was  a larger  supply  of  ivory  in  that  coun- 
try, reached  a very  high  state  of  perfection  after  it  had  begun 
to  decline  in  other  parts  of  Europe.  This  hunting-horn,  which  is 
treated  with  remarkable  fullness  and  variety  of  detail,  has  carved 
on  it,  in  addition  to  purely  decorative  figures,  the  story  of  St. 
George  and  the  Dragon,  a review  of  Russian  soldiery,  and  a 
medallion  of  Peter  the  Great.  It  may  be  considered  as  one  of  the 
finest  pieces  of  European  ivory-carving  extant.  . When  we  glance 
at  the  Japanese  carvings  represented  below,  the  great  difference  in 


THE  METROPOLITAN  MUSEUM  OF  ART. 


2 7 


spirit  and  treatment 
between  the  Occident 
and  Orient  is  imme- 
diately perceptible. 

The  Japanese,  in  all 
the  varieties  of  their 
Art,  display  a rich- 
ness and  sort  of  gro- 
tesque invention  very 
striking.  To  much 
of  the  unrivalled  dex- 
terity and  finish  of  de- 
tail, so  characteristic 
of  the  Chinese  art- 
ists, they  added  great 
force  of  humorous  ori- 
ginality and  vigour  in 
expressing  it.  The 
minor  pieces  in  the 
lower  part  of  Group 

XXIV.  are  good  examples  of  this,  while  the  carving  of 
the  elephant  may  be  regarded  merely  as  an  illustration 
of  technical  fineness  of  work. 

The  manufacture  of  glass,  which  belongs  to  both 
the  useful  and  ornamental  arts,  is  one  of  the  oldest  dis- 
coveries of  human  invention,  and  passes  back  into  the 
morning  of  antiquity.  Representations  of  glass-blow- 
ers have  been  found  painted  on  Egyptian  tombs,  which 
date  three  thousand  years  before  Christ.  In  a previous 
chapter  something  has  been  said  of  ancient  Greek  glass, 
and  the  perfection  which  it  reached.  Let  us  now  take 
a brief  glance  at  the  Roman  glass,  as  shown  in  the 
splendid  Marquand  collection,  recently  purchased  by 
the  Museum.  These  glass  objects  were  exhumed  in 
different  portions  of  Europe,  and  bear  witness  of  the 
old  Roman  occupation.  Group  XXV.  offers  many  fine 
examples  of  Roman  glass,  showing  the  character  of  its 
forms  and  decoration.  In  many  cases  this  glass,  like 
that  of  the  Greek  period  excavated  at  Cyprus,  is  col- 
oured with  a beautiful  iridescence,  the  chemical  effect 
ot  decay.  Though  the  manufacture  of  glass  was  intro- 
duced into  Rome  in  the  time  of  Cicero,  it  was  not  till 
the  latter  years  of  the  first  century  of  our  epoch  that  great  skill 
was  attained  in  making  ornamental  articles.  At  this  time  only 
articles  of  luxury  were  produced,  such  as  vases,  wine-jars,  and 
cups  for  the  tables  of  the  wealthy,  perfume  and  other  vases  for 
their  toilette,  and  urns  and  lachrymatories  for  their  tombs.  It  was 
not  till  the  third  century  that  articles  of  glass  came  into  common 


use.  The  finest  example  of  Roman  glass  is  the  Barberini 
or  Portland  vase,  in  the  British  Museum,  on  which  is  repre- 
sented in  raised  figures  the  marriage  of  Peleus  and  Thetis. 
The  specimens  of  Roman  glass  in  Group  XXV.  show  the 
forms  most  in  vogue,  and  indicate  that  the  Romans  of  the 
empire  were  in  large  measure  masters  of  the  subtleties  of  the 
glass-making  art.  Nearly  every  ornamental  device  practised 
by  modern  skill  is  here  displayed,  and  even  the  best  Venetian 
period  of  glass-blowing  has  little  to  offer  in  the  treatment  of 
form  and  decoration  more  essentially  artistic. 

The  Jackson  Jarves  collection  of  Venetian  glass,  of  which 
illustrations  are  given  in  Group  XXVI.,  furnishes  a good  op- 
portunity for  comparison.  The  designs  are  more  fragile  and 
fantastic,  more  inventive  and  original,  perhaps,  but  not  better 
in  form.  The  genius  of  the  Venetian  artist  ran  riot  in  a thou^ 
sand  quaint  shapes,  and  we  find  in  his  work  something  of  the 
same  wonderful  feeling  for  colour  which  made  the  canvasses  of 

Titian,  Tintoretto, 
and  Giorgone,  such 
masterpieces.  Ve- 
netian glass-blow- 
ing reached  its  per- 
fection in  the  thir- 
teenth century  at 
Murano,  one  of  the 
islands  adjacent  to 
the  city,  and  here 
for  two  or  three 
centuries  was  pro- 
duced that  wonder- 
ful glass  which  is 
the  marvel  of  mod- 
ern times.  The  in- 
dustry has  recently 
been  revived  at  Mu- 
rano, but,  though 
the  products  are 
beautiful,  they  do 
not  equal  the  best 
results  of  the  meai- 


Group  XXVI. 


aeval  craft.  The  specimens  delineated  in  Group  XXVI.  suggest 
the  great  variety  and  delicacy  of  treatment  which  the  Murano 
glass-blower  was  enabled  to  obtain.  Old  Venetian  glass  of  the 
best  design  is  exceptionally  rare,  not  merely  on  account  of  the 
long  decadence  of  the  manufacture,  but  from  the  excessive  fra- 
gility of  these  precious  objects. 


VI 


Hall  of  Statuary. 


AS  a fitting  preface  to  the  Museum  and  its  collection,  the  west 
■i*-  entrance-hall  contains  the  modern  statues.  Our  illustration 
gives  a capital  idea  of  the  fine  appearance  of  this  hall.  To  the  left 
is  Story’s  ‘ Medea,’  and,  to  the  right,  Powers’s  statue  of  ‘ California.’ 
Back  of  the  ‘Medea’  is  a seated  figure  of  ‘Semiramis,’  also  by 
Story;  and  on  the  other  side,  somewhat  lower  down,  a seated 
figure  of  ‘Cleopatra,’  by  the  same  sculptor.  There  are  numerous 


other  full-length  figures  and  busts  in  this  hall,  among  which 
the  following  may  be  specially  noted  : Benzoni’s  ‘ Flight  from 
Pompeii ; ’ Conelly’s  ‘ Thetis  and  her  Son  Achilles  ; ’ Rinehart’s 
‘ Latona  and  her  Children  ; ’ Schwanthaler’s  ‘ Dancing  Girl ; ’ 
Halbeg’s  ‘ Venus,’  and  Story’s  ‘ Polyxena.’  A head  of  ‘ Benja- 
min Franklin,’  by  Floudon,  will  always  attract  the  attention  of 
visitors  from  its  truthfulness  and  artistic  excellence.  This  collec- 
tion may  be  considered  the  nucleus  around  which  other  statues 
will  be  grouped  in  time,  as  the  architectural  plans  allow  of  certain 
developments.  In  fact,  the  whole  building  now  occupied  by  the 
Metropolitan  Museum  of  Art  forms  but  a fragment  of  that  larger 
edifice  which  will  assuredly  be  built  around  it  at  no  distant  date, 
The  frontage  on  the  Park  devoted  to  statues  will  have  a curved 
sweep  affording  further  room  for  display.  A great  want  in  the 
museums  devoted  to  Art  in  the  United  States  .is  the  absence  of 
Greek  statues.  A cast  of  the  ‘ Hermes  ’ lately  discovered  at 


THE  METROPOLITAN  MUSEUM  OF  ART. 


29 


Olympia,  now  gracing  the  entrance-hall,  throws  all  the  modern 
productions  most  decidedly  in  the  shade.  The  difficulty  of  pro- 
curing original  Greek  statues,  or  even  Roman  ones,  of  undoubted 
authenticity,  is  very  great.  Still,  if  the  Metropolitan  Museum  is  to 
be  considered  that  higher  college  of  Art  where  students  are  to  ob- 
tain a better  acquaintance  with  what  is  really  grand  and  classic, 
casts  should  be  obtained  when  originals  are  not  procurable. 

The  loan  collection  of  arms  and  armour  in  the  Metropolitan 


Museum,  though,  of  course,  far  inferior  to  numerous  collections  in 
Europe,  contains  a notable  variety  of  the  mediaeval  battle  equip- 
ment, some  illustrations  of  which  we  give  in  Group  XXVII.  The 
lady’s  gun,  at  the  top,  is  Italian  ; and  from  it  depends  a jacket  of 
Milan  chain-armour,  a fabrication  for  which  Milan  became  famous 
early  in  the  twelfth  century.  The  sword  with  the  ornamented  hilt, 
partly  hidden  by  the  mail-coat,  is  a Florentine  sword  of  ceremony 
of  the  sixteenth  century ; while  that  which  crosses  it  is  a two- 


Croup  XXVII. 


3° 


THE  METROPOLITAN  MUSEUM  OF  ART. 


Group  XXVIII. 

this  pottery  is  a misnomer,  for  it  was  never  made  in  Flanders,  but 
at  various  places  on  the  Rhine,  near  Cologne,  and  Aix-la-Cha- 


pelle.  Probably 
the  name  is  due 
to  the  fact  that 
the  largest  de- 
mand for  it  was 
from  Flanders, 
and  that  the  in- 
scriptions on  the 
ware  are  in  a 
language  which 
is  a mixture  of 
both  the  Ger- 
man and  of  the 
Flemish  (the  lat- 
ter predominat- 
ing), which  is 
spoken  even  to- 
day in  the  region 
where  it  was 
formerly  manu- 
factured. There 
is  not  now  to  be 
found  a single 
factory  of  this 
ware,  for  about 
the  middle  of 
the  seventeenth 
century  the  pro- 
duction ceased. 
The  principal 
towns  devoted 
to  the  industry 
were  Siegberg, 
Raeren,  Greuzhausen,  and  Frechen.  The 
curious  and  interesting  quality  of  this  ware, 
for  it  has  no  great  beauty  of  colour  or  text- 
ure, is  the  fact  that  it  is  a close  reproduc- 
tion, in  many  respects,  of  the  old  Roman 
pottery,  though,  towards  the  last,  it  be- 
came more  individualized,  specially  in  imi- 
tating the  forms  of  modern  objects.  The 
specimens  selected  for  illustration  are  good 
examples  of  the  collection.  The  tonnelet, 
or  barrel,  of  Siegberg  make,  is  probably 
one  of  the  finest  specimens  in  existence. 
The  decoration  is  simple  but  effective,  and 
the  gradations  of  tint  in  the  grey  are  well 
marked.  Several  specimens  from  Raeren, 
of  the  pitcher-pattern,  are  ornamented  with 
medallions  containing  coats  of  arms  and  es- 
cutcheons. The  tall  tankard,  on  the  left 
of  the  group,  is  of  Greuzhausen  ware,  and 
shows  ‘ La.ndsk71ech.te'  with  military  cos- 
tumes of  the  period.  Next  it  may  be  seen 
a curious  old  Raeren  pot  with  three  han- 
dles, probably  used  as  a beer-jug.  On  the 
right  of  the  tonnelet  is  a Nassau  pitcher  of 
odd  design,  decorated  with  ‘ Landsknechte.’ 
Without  attempting  to  describe  these  ob- 
jects further  in  detail,  it  is  enough  to  call 
attention  to  their  quaintness,  and  their  in- 
terest as  specimens  of  a ware  which  only 
exists  as  curiosities.  The  observer,  after 
looking  at  far  more  brilliant  and  preten- 
tious wares,  will  find  his  eye  resting  pleas- 
antly on  the  quiet  grey  tone  and  the  solid 
simplicity  of  this  old  ware. 

A study  of  Group  XXVIII.  carries  us 
back  to  the  ancient  world.  The  basement- 
hall  of  the  Museum  of  Art  is  for  the  most 
part  devoted  to  fictile  art,  nearly  everything 
being  a cast  from  the  original  in  some  for- 
eign museum.  On  the  left  of  the  upper  part 
of  the  group  is  the  figure  of  a Greek  syren  playing  on  the  lyre — a 
tortoise-shell  with  inverted  goat’s  horns  (now  broken  off).  The 


THE  METROPOLITAN  MUSEUM  OF  ART. 


3i 


wings  and  arms  are  gone,  but  the  spirit  and  proportions  of  the 
figure  are  well  preserved.  This  belongs  to  the  Roman  age  in 
Egypt,  and  its  purpose  and  significance  were  probably  transmitted 
from  the  Greek  period.  Syrens  weeping  and  tearing  their  hair  often 
adorned  Greek  groves,  in  commemoration  of  the  death  of  specially 
eloquent  men  or  beautiful  women.  The  architectural  casts  on  the 
right  of  the  syren  are  copies  of  fragments  from  the  Erectheum, 
which  are  in  the  British  Museum.  The  Erectheum,  which  almost 
rivalled  the  Parthenon  in  extent  and  beauty,  is  now  in  a greater 
state  of  dilapidation  than  the  latter,  but  enough  remains  of  it  to 
give  a correct  idea  of  its  outer  form.  This  temple  was  erected  for 
the  joint  worship  of  Neptune  and  Minerva,  who  were  tutelary  gods 
of  Athens,  and  was  one  of  the  glories  of  the  Acropolis.  The  form 


of  the  Erectheum  was  oblong,  with  a portico  of  six  Ionic  columns 
at  the  east  end,  and  a kind  of  transept  at  the  west ; a portico  of 
four  columns  on  the  north,  and  the  portico  of  the  Caryatides, 
standing  on  a basement  eight  feet  high,  on  the  south.  At  the 
western  end  there  is  a basement  on  which  are  four  Ionic  columns, 
half  engaged  in  the  wall  and  supporting  a pediment.  The  frag- 
ments shown  in  this  group  indicate  somewhat  of  the  character  of 
the  architecture  and  decoration,  though  these  are  not  essentially 
different  from  those  of  the  Parthenon.  While  the  friezes  of  the 
Erectheum  were  not  so  much  crowded  with  detail  as  those  of  the 
more  celebrated  temple,  their  execution  displays  no  less  breadth 
and  master}'.  The  mural  sculpture  of  the  lower  portion  of  Group 
XXVIII.  is  Renaissance  of  the  Cinq-Cento  period,  and,  with  its  ele- 


ments of  prettiness  and  trivial  motive,  contrasts  most  unfavourably 
with  the  strong,  broad  handling  shown  in  the  Erectheum  casts. 
The  carved  inlaid  cabinet  is  a good  piece  of  mediaeval  Italian  work, 
and  fairly  represents  the  artistic  wood-carving  of  its  time. 

The  lower  hall  of  the  Metropolitan  Museum  of  Art  is  highly 
interesting,  and  contains  replicas  of  the  best  efforts  in  mediaeval 
ivory  and  metal-work.  In  this  way  the  student  is  enabled  to 
trace  the  connecting  links  of  Art  development  where  the  originals 
are  unattainable.  Ivory-carving  among  European  peoples  is  now, 
and  has  long  been,  in  its  decadence ; and,  though  gold  and  silver 
metal-work  remains  at  a high  degree  of  technical  excellence,  the 
models  and  methods  closely  follow  those  of  the  mediaeval  crafts- 
men. Some  capital  examples  of  early  Art-work  are  shown  in  the 
reproductions  arranged  in  Group  XXIX.  These  are  casts  from  ob- 
jects in  the  Kensington  Museum,  London,  and  are  English,  Italian, 


German,  and  Russian.  The  large  salver  delineated  in  the  lower 
part  of  the  illustration  is  gilt-silver  repousse,  and  dates  from  the 
year  1 597,  its  place  of  manufacture  having  been  Norwich,  England. 
It  represents  in  its  figure  ornaments  the  triumph  of  Neptune  and 
Amphitrite.  In  the  centre  is  a medallion  of  Christ  washing  his 
disciples’  feet,  while  all  the  other  spaces  are  occupied  with  Cupids, 
grotesques,  and  curious  decorative  work.  On  its  left  is  a silver- 
bronze  stand  supporting  a nautilus-shell,  a production  of  Italy 
during  the  sixteenth  century.  The  work  represents  seated  naiads 
and  syrens,  each  sea-goddess  holding  a string  of  fish.  The  bronze 
ewer,  on  the  other  side  of  the  salver,  is  also  sixteenth-century 
Italian.  It  is  richly  chased  with  classical  subjects  and  medallions, 
among  which  are  Octavia,  Hortensia,  Emilia,  Yirginius  and  Vir- 
ginia, Portia,  Lucretia,  and  Marcus  Curtius.  The  Art-work  is  of 
great  beauty,  and  belongs  to  the  very  best  Italian  school.  Par- 


THE  METROPOLITAN  MUSEUM  OF  ART. 


j- 


ticular  attention  may  be  called  to  the  graceful  oddity  of  the  handle. 
The  large  tankard  represented  in  Group  XXIX.  is  one  of  the  most 
striking  pieces  of  its  kind  in  the  Museum.  It  is  Augsburg  (Ger- 
many) work  of  the  late  seventeenth  century,  and  may  be  regarded 
as  a superior  example  of  the  best  ivory-carving  of  the  post-Gothic 
or  Renaissance  period.  The  body  of  the  tankard  is  wrought  in 
high-relief,  with  the  figures  of  a Bacchanalian  procession,  and  the 
ivory -work  of  the  cover  consists  of  a Centaur  and  man  engaged  in 
combat.  The  freedom  and  delicacy  with  which  the  figures  are 
modelled  are  most  noticeable,  and  worthy  of  the  highest  admira- 
tion. The  metal-work  in  which  the  ivory  is  mounted  is  also  richly 
chased  with  conventional  decoration.  In  the  upper  part  of  the 
group  may  be  seen  an  oviform  ewer  of  Norwich  (England)  work 


of  the  year  1597.  It  is  silver  repousst,  showing  a festal  procession 
of  sea-deities  in  high-relief.  Standing  by  it  is  a gold  repousse 
goblet  (Russian)  of  the  seventeenth  century,  worked  in  the  shape 
of  fish-scales,  with  an  inscription  around  the  top.  On  it  are  me- 
dallions of  Spring,  Summer,  and  Autumn.  These  few  examples  will 
serve  to  exemplify  the  fictile  collection  of  the  Museum,  there  being 
more  than  two  hundred  reproductions  of  ivories,  and  even  more  of 
the  gold  and  silver  Art-work  of  Europe — the  first  class  dating  back 
to  the  early  years  pf  the  Christian  era.  The  field  of  study  gives 
ample  material  from  which  the  Art-student  may  get  a consecutive 
notion  of  the  minor  decorative  sculpture  of  Europe,  as  expressed 
in  ivory  and  the  metals. 

Group  XXX.  displays  examples  of  Turkish  inlaid  cabinet-work. 


Group  XXX. 


The  two  octagonal  tables,  one  placed  on  the  other,  are  specimens 
of  the  eating-tables  used  by  the  wealthy.  They  are  superbly  inlaid 
with  mother-of-pearl,  a kind  of  decoration  in  which  the  Turks  and 
Arabs  excel.  The  high  three-cornered  and  three-legged  table, 
also  beautifully  inlaid,  is  a Koran-holder,  and  the  stool  by  its  side 
a species  of  foot-rest,  used  by  the  Orientals  in  their  change  of 
position  from  their  habitual  cross-legged  attitude.  The  brazen- 
metal  bowl  is  very  profusely  decorated  in  chased-work,  and  is  of 
the  kind  which,  filled  with  water,  is  passed  around  by  slaves,  at  an 
Oriental  banquet,  for  lavatory  purposes  between  the  courses. 

It  goes  without  saying  that  in  the  foregoing  illustrations  and 
descriptions  of  the  contents  of  the  Metropolitan  Museum  only  rep- 
resentative objects  have  been  touched,  a few  specimens  frequently 


serving  as  sufficient  types  of  classes.  But,  in  addition  to  those 
features  of  the  Museum  (the  most  important,  it  is  true)  which  have 
thus  been  set  forth  by  pen  and  pencil  in  their  leading  examples, 
the  visitor  will  find  many  other  striking  and  unique  objects  in 
archaeological  and  decorative  Art  fully  deserving  of  careful  study, 
and  well  calculated  to  fascinate  the  attention.  The  Museum  is 
growing  rapidly  by  donation  and  purchase,  and  holds  out  promise 
of  speedily  becoming  one  of  the  great  museums  of  the  world,  not 
only  in  the  value  and  rarity  of  special  features,  but  in  completeness 
and  symmetry.  America  has  long  waited  for  such  a comprehen- 
sive collection,  and  the  time  seems  to  have  come  when  the  hopes 
of  the  lovers  and  students  of  the  history  of  Art  will  be  speedily 
fulfilled. 


POSTSCRIPT. 


Since  this  book  went  to  press,  certain  changes  have  been  made  in  the  loan  collections  of  the  Museum, 

to  which  the  attention  of  the  reader  should  be  called.  Some  features  of  the  Museum  will,  therefore,  be 

found  different  from  those  set  forth  in  the  preceding  pages.  The  cases  containing  the  ivories  of  the  late 
Mr.  Pruyn,  of  Albany,  in  the  North  Gallery,  have  been  removed  from  the  exhibition,  and  their  place  sup- 
plied by  the  Drexel  Collection  of  Egyptian  Antiquities.  The  china-ware  and  ivory  casts  on  the  main  floor 
of  the  Museum  have  been  removed  to  the  basement-hall  for  exhibition,  and  in  their  stead  may  be  seen  the 
bric-a-brac  and  lacquers  of  the  remarkable  Phoenix  Collection,  one  of  the  most  notable  of  recent  gifts  to 
the  Museum.  Another  interesting  addition  since  the  letter-press  of  this  book  was  prepared  is  that  of  a 
marble  statue  of  much  beauty  by  the  sculptor,  Signor  Albano,  of  Florence,  Italy,  entitled  ‘ II  Ladro  ’ (‘  The 

Robber’).  This  statue  is  a present  to  the  Museum  by  the  sculptor,  one  of  the  most  eminent  artists  of 

Italy.  With  the  exceptions  noted,  no  alteration  has  been  made  in  the  features  of  the  Museum  illus- 
trated and  described  in  the  foregoing  pages. 


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